Performance gallery

Every card names the device, the layout, the synth and the modes in play, links the piece the performance is based on, and links into the guide page that explains what you see. Videos are recorded by the author on the instrument; the gallery accepts additions without a page edit (they are entries in a manifest). Cards marked coming soon are performances the author is recording for the 2.0 book — the instruments, the electric medium, the synth — captioned ahead of their videos. Since Phase 9 a card can also carry the performance’s own recording: watch it again opens the marble app on that file and redraws the water from the recorded bytes in your browser.

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The Jaffer tribute

Aubrey Jaffer’s three marbling animations on his MIT CSAIL pages — Bouquet, Latte and Wave — each open and close with a title card that credits their music: three Turkish tunes popular for international folk dancing, published as ABC notation on his own site. Read from the credit frames:

Animation	Credited tune	Source named in the credits
Bouquet (rake patterns)	Kendime	voluntocracy.org/Music/Kendime.abc
Latte (a single stylus, in coffee)	Ali Paşa	voluntocracy.org/Music/AliPasa.abc
Wave (the Spanish wave)	Rampi Rampi	voluntocracy.org/Music/RampiRampi.abc

The piece: Ali Paşa — the tune of Latte, the one animation Jaffer made with a single stylus rather than a rake, which is what midi-sink’s pen does. Performed by the author on midi-sink: the instrument built on Jaffer’s equations, playing the music he set them to. Only the composition’s status matters for a performance by the author, and it was checked rather than assumed: Ali Paşa (first line Arpa ektim biçemedim) is an anonymous Turkish folk song — a lament for Ali Pasha of Van — held in the Turkish Folk Music Archive (no. 398, collected by Muzaffer Sarısözen from the Van region) and marked Trad. in Jaffer’s own transcription; the dance to it was set by Bora Özkök, but the dance is not what is performed here. A traditional, anonymous composition of that age is in the public domain. The two alternates are also traditional: Rampi Rampi (Çadırımın Üstüne, a 9/8 karşılama, first recorded in 1946 and credited Traditional on every release) and Kendime, a Turkish folk-dance tune presented to international dancers by Özkök. The recording is the last card above — played on the iPad through a bağlama sound, on the circle of fifths.

Turkish moiré

Jaffer’s Pigment Transport in Paint Marbling analyses the Turkish moiré pattern; a scripted moiré scene as a bridge between this gallery and the operator book is an optional addition noted for later and not part of this release.