Jamming for a 2D granular material

This paper focuses on the nature of jamming, as seen in two-dimensional frictional granular systems consisting of photoelastic particles. The photoelastic technique is unique at this time, in its capability to provide detailed particle-scale information on forces and kinematic quantities such as particle displacements and rotations. These experiments first explore isotropic stress states near point J through measurements of the mean contact number per particle, Z, and the pressure, P as functions of the packing fraction, . In this case, the experiments show some but not all aspects of jamming, as expected on the basis of simulations and models that typically assume conservative, hence frictionless, forces between particles. Specifically, there is a rapid growth in Z, at a reasonable which we identify with as c. It is possible to fit Z and P, to power law expressions in - c above c, and to obtain exponents that are in agreement with simulations and models. However, the experiments differ from theory on several points, as typified by the rounding that is observed in Z and P near c. The application of shear to these same 2D granular systems leads to phenomena that are qualitatively different from the standard picture of jamming. In particular, there is a range of packing fractions below c, where the application of shear strain at constant leads to jammed stress-anisotropic states, i.e. they have a non-zero shear stress, τ. The application of shear strain to an initially isotropically compressed (hence jammed) state, does not lead to an unjammed state per se. Rather, shear strain at constant first leads to an increase of both τ and P. Additional strain leads to a succession of jammed states interspersed with relatively localized failures of the force network leading to other stress-anisotropic states that are jammed at typically somewhat lower stress. The locus of jammed states requires a state space that involves not only and τ, but also P. P, τ, and Z are all hysteretic functions of shear strain for fixed . However, we find that both P and τ are roughly linear functions of Z for strains large enough to jam the system. This implies that these shear-jammed states satisfy a Coulomb like-relation, τ = μP. © 2010 The Royal Society of Chemistry.

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.