Published

Bell ringing as abstraction, exercise, and communion

Can’t remember how we got talking about it, but another member of the Brooklyn Conservatory Chorale told me that she’s very in to English Change Ringing.

I thought I hadn’t heard of it before, but I have heard it, many times since I lived over there for 10 years. Listen to an example from St Paul’s on YouTube. I didn’t know it had a name, guess I always assumed it was sort of random.

If you listen to it closely you can start to recognize patterns. And if you live in the US, you might realize how this sound feels somewhat historical, not something that we hear frequently even in places with lots of churches. It is somewhat-to-very rare in the US depending upon where you live (see map of North American bell towers).

I started poking around online. For a concise description of English Change Ringing, you can’t beat the one on the New York Trinity Ringers website. Would love to go hear their bells some time.

But for a wonderfully in-depth presentation, it’s worth reading the article “Campanologomania” by Katherine Hunt published in issue 53 of Cabinet magazine in spring 2014.

(Incidentally, how have I never come across Cabinet before? “We believe that curiosity is the very basis of ethics insofar as a deeper understanding of our social and material cultures encourages us both to be better custodians of the world and at the same time allows us to imagine it otherwise.” Spot on. I hope they’re not done for… The last issue was winter ‘21 / spring ‘22, and the last event was in late 2020 as far as I can tell.)

In the article, Hunt goes through the origins of English Change Ringing as almost a drunken group pastime on idle bells, to a sort of obsession by folks – men, really – of many classes, to something that was seen as somewhat lowly due to the physical exertion it required, to the qualities it shares with modern twelve-tone music and the invention of the dumbbell (quite literally a dumb bell).

It’s hard to describe how physically in-tune the bell ringers must be to achieve the many permutations in a multi-hour peal. Hunt says:

While change ringers must understand the shape of the particular method they are ringing, they do not follow written notation for each and every change. Nor do they memorize the individual changes. Rather, the practice relies on the ringers internalizing the patterns of the method, perhaps by looking at notation that shorthands the whole method, showing only the key moments at which the permutations change course in order to exhaust all the possible orders. Ringers know principally by doing: they anticipate when two bells will have to swap places in the following round, and they feel their way as a group through the ringing of all the orders of the rows. Change ringing’s linguistic potential may have been exploited by Stedman and Mundy, but in the bell-tower it is a sweaty, communal, and profoundly corporeal activity.

That reliance on communality reminds me of many Musarc performances, though those are of course much more contemporary and experimental (and choral, not bells!).

Anyways, clearly there is something very attractive about this to me… The trouble is the meeting lengths and frequency, it would be really tough to get involved at this point in my life. Maybe something for when I’m 50+.

***

Side note: I was about to post a link to Outhwaites of Hawes, a traditional ropemaking business that started before 1840. The building is their workshop and also effectively houses a museum. It was lovely to walk through there and see the rope being made, including the incredible ropes required for change ringing. But sadly, it looks like they closed almost exactly a year ago.

Published

Color contrast tools to check against APCA

EL introduced me to contrast.tools recently, it uses the Advanced Perception of Color Algorithm (APCA) to check the accessibility of your text based on the desired colors and the font weight + size. But importantly, it also provides a lookup table to verify how you should (possibly, probably) interpret things.

I think that APCA is being floated as the new contrast algorithm for WCAG 3.0? But I’d need to look in to it more to be sure. Apparently APCA Readability Criterion (ARC) might be a new standard for visual contrast.

Side note: I kind of wish we could get away from acronyms-within-acronyms-within-acronyms in the accessibility standards world…

Published

New role, big emotions, top of the tops

A few recent happenings.

I started working with the excellent Eames Institute last week as Engineering Lead. 🎉 It’s been good fun so far, and seems like a great team. A heck of a lot of things I care about are rolled up in that one role.

B is a gorgeous ball of wants and needs and joy and sorrow. He watched The Snowman last night with Sam for the first time while I was cooking dinner, I’m not sure he was emotionally prepared for the ending. 😢 And I wasn’t emotionally prepared for his reaction.

Recently, I got B a top for the first time in preparation for a long Thanksgiving flight. It didn’t capture his attention as much as I was hoping, hey ho, but on the flip side, I absolutely love it. I’d forgotten how fun tops are, and it reminded me of the most recent exhibition by the Eames Institute on their toy collection, particularly their tops. I can completely understand why someone would collect them, and could imagine slipping in to that…

Then I started looking in to their history, I had no idea how many different types of top there are! There’s even one that flips over while in motion to spin on its stem. Looking in to tippe tops took me to the absolutely glorious Grand Illusions channel on YouTube run by ex-BBC presenters Hendrik Ball and George Auckland and collector + presenter Tim Rowett. Besides their video about the tippe top, they have well over 500 videos on many other toys from Tim’s 20,000+ toy collection. This one particularly tickled me. I used to have that dolphin pen! And my god, do I want one of these.

Published

“When the blazing sun is gone”

I just remembered… Another one of my favorites from the Kronos Quartet anniversary concert was Laurie Anderson’s piece “Nothing Left but Their Names”. I knew I would like it, but I didn’t expect to also learn another verse of Twinkle Twinkle Little Star.

I wish I’d written it down because the way she introduced it made me laugh, something about it being rather apocalyptic for a lullaby. But I thought I’d be able to look it up afterward, so I didn’t. It doesn’t seem to be part of her original lyrics, so take my word for it.

I do remember that she sang “where” instead of “what”, which I liked.

Twinkle twinkle little star
How I wonder where you are!
Up above the world so high,
Like a diamond in the sky.
Twinkle twinkle little star
How I wonder where you are!

When the blazing sun is gone,
When he nothing shines upon,
Then you show your little light,
Twinkle, twinkle, all the night.
Twinkle, twinkle, little star,
How I wonder where you are!

Turns out there are five verses in total. B will be happy to hear that, it’s all he asks for at night.

Published

“an example of how wonder and humility can build up in the same way as toxins in nature and in ourselves”

I was delighted to accompany DB last-minute to Kronos Quartet’s 50th anniversary gig at Carnegie Hall on Friday night.

This was the set.

  • Severiano Briseño, “El Sinaloense (The Man from Sinaloa)” (2001; arr. Osvaldo Golijov)
  • Gabriella Smith, “Keep Going” (2023, co-commissioned by Carnegie Hall; New York Premiere)
  • Peni Gandra Rini, “Movement 1” from Segara Gunung (2023, co-commissioned by Carnegie Hall; arr. Jacob Garchik and Andy McGraw; New York Premiere)
  • Laurie Anderson, “Nothing Left But Their Names”, from Landfall (2012)
  • Tanya Tagaq, “Sivunittinni” (2015, co-commissioned by Carnegie Hall; arr. Jacob Garchik)
  • Tanya Tagaq, “Colonizer (Remix)” (2021; arr Tanya Tagaq, Kronos Quartet, and Joel Tarman)
  • Ariel Aberg-Riger / Hamza El Din, “Swimming with Rachel Carson” (2023; World Premiere) / Escalay (1989; real. Tour Ueda)
  • Traditional, “We’re Stole and Sold from Africa” (arr. Jake Blount and Jacob Garchik)
  • Michael Gordon, gfedcba (2023, co-commissioned by Carnegie Hall; New York Premiere)
  • Wu Man, “Silk” and “Bamboo”, from Two Chinese Paintings (2015, co-commissioned by Carnegie Hall; real. Danny Clay)
  • Moondog, “Choo Choo Lullaby” (1977; arr. Brian Carpenter)
  • Rahul Dev Burman, “Mehbooba Mehbooba (Beloved, O Beloved)” (1975; arr. Stephen Prutsman and Kronos Quartet)
  • Terry Riley, “Sunrise of the Planetary Dream Collector” (1981)

The performance included collaborators from throughout their career, and the Terry Riley piece brought all of the performers from earlier pieces and many more together in one huge jam. This included the Aizuri Quartet, Attacca Quartet, Bang on a Can All-Stars, PUBLIQuartet, Sō Percussion, Laurie Anderson, Gregg August, Jake Blount, Peni Sandra Rini, Brian Carpenter, Jacob Garchik, Iwo Jedynecki, Ayana Kozasa, Reshena Liao, Son Leon Lyuh, Tanya Tagaq, Wu Man, and more. Terry Riley gave a very endearing recorded introduction before his piece.

It’s super hard to decide… But I think I was most enchanted by Hamza El Din’s Escalay with Ariel Aberg-Riger’s spoken word and visual art. It was an incredible combination, and unexpected.

I knew very little about Rachel Carson, and about the forcible relocation of so many Nubians when the Aswan Dam was constructed. (To be honest, I know embarrassingly little about Nubia in general.) The program noted that the water wheel was the oldest mechanical device used for farmland irrigation in Nubia, and “Escalay is a representation of how to start the waterwheel and let it run.” El Din was introduced to Kronos by Terry Riley, and this is the piece he wrote for them.

Towards the end of Aberg-Riger’s “Swimming with Rachel Carson”, she said something about how Carson set “an example of how wonder and humility can build up in the same way as toxins in nature and in ourselves”. (That is not a perfect quote since I couldn’t write it down fast enough, forgive me.)

Something to strive for.

Published

SUCCESSFUL Adventures in setting up ActivityPub + Webfinger on a Flywheel-hosted WordPress site

Updated 31 October 2023 at 2:45pm to edit the NGINX config and give a further explanation.

I gave up too soon!

Emerson from Flywheel did more digging in the Fastly cache documentation and realized that we could tweak the NGINX config to fully support content negotiation. He added a Vary header to the necessary URLs et voilà, everything started working properly. Now, courtesy of Matthias Pfefferle’s great WordPress plugins and Flywheel’s dogged help, you can follow this blog on Mastodon if you search for @blog@piperhaywood.com or https://piperhaywood.com/@blog.

For future reference, this is the NGINX config tweak that got ActivityPub and Webfinger working on Flywheel with their Fastly caching setup:

location ~* /.well-known/webfinger {
    default_type application/activity+json;
    add_header Vary Accept;
    include internal-proxy.conf;
}

location ~* / {
    add_header Vary Accept;
    include internal-proxy.conf;
}

It’s fairly self-explanatory, but essentially the first location block ensures that all Webfinger endpoints have a default content type of application/activity+json, adds a Vary HTTP header so that Flywheel’s caching via Fastly will cache different versions of the page depending upon the content type, and includes further configuration via an internal-proxy.conf file. The second location block ensures that all URLs across the site basically do all of the above, but no default content type is set. (TBH I feel like I might only need the second block… but at this point everything is working nicely so I’m not going to ask the kind souls at Flywheel to change the config yet again!)

Colin from Flywheel explained the internal-proxy.conf file to me in my far-too-long support ticket:

The internal-proxy.conf is indeed an internal file that has platform-specific rules. Some of this config file is just simple cache rules, excluding common paths, whereas other parts are potentially sensitive as they pertain to our load balancing and proxy configs.

So that’s it! You can follow this blog now on Mastodon, and all blog posts published after October 30th should show up.

Published

Adventures in setting up ActivityPub + Webfinger on a Flywheel-hosted WordPress site

Update: We got it working! Take a look at this post for more.


I recently moved my hosting from NFSN to Flywheel. NFSN had served me beautifully for years, very economically, but I just don’t have as much time for admin anymore and Flywheel’s managed WordPress hosting was a useful move to cut down on that stress.

Alongside the hosting move, I’ve been trying to set up the very talented Matthias Pfefferle’s ActivityPub and Webfinger WordPress plugins to get this site on Mastodon.

Unfortunately, Flywheel doesn’t seem to play super nicely with the plugins. Part of this is Flywheel’s NGINX configuration which they lock down tight with good reason. But the bigger sticking point is Flywheel’s full-page caching mechanism. Though their caching provider supports content negotiation, Flywheel itself does not. This causes issues where JSON can end up being cached instead of HTML on various pages, most notably the homepage. (Apologies if you saw a JSON blob when visiting this site recently!) We tried to get around this by forcing the content type on the homepage and Webfinger endpoints, but JSON was still served up on the homepage whenever a client sent through a header with Accept: application/activity+json.

For now, I’ve deactivated the plugins. I’m hoping that Flywheel might look in to supporting them more broadly, but that realistically depends on demand from their customers. For posterity since I hope to revisit this in the future 🤞, here is the discussion about all of the above within the Webfinger repo, including some tips from Matthias.

Flywheel’s support staff have been pretty fantastic through all of this and I’ve been really happy with the hosting thus far so I’m not tempted to move hosts (again) for this. Not yet at least!

Published

“Power and safety are not the same thing”

It’s been an awful, heartbreaking October.

I don’t really know what to say about the conflict in Gaza and Israel. Part of it is that I don’t feel like I know enough. Both about all of the micro and macro events that have led up to this, and what’s going on in this moment. And I don’t really feel justified to share my feelings. It seems performative considering I have no personal ties and am many thousands of miles away.

But Eli did a great job articulating his feelings in this post, and I wanted to share that here since it is the one thing I’ve read that most closely mirrors my current thoughts.

It all feels a bit like staring in to the void.

“Tragedy” is almost a meaningless word, with the frequency it occurs.