Japanese Spam

2007 04/20

Japanese SpamSo for some reason I get Japanese spam now.

First, my Giant Steps video became really popular… in Japan. Then all my google ads started appearing… in Japanese. And now I get ridiculous Japanese spam… in Japanese…

I’m going to have to learn that damn language now, just to know what I’m ignoring.

I am a stabbing (saxophone playing) robot.

2007 02/21

So, Youtube posts any websites that link to your videos, and as a result, I found this.

It appears to be a Japanese essay on Jazz music and technology which used my “Giant Steps” animation as evidence. I ran Babelfish on the page it returned this choice quote about my work:

Don’t you think? this is funny with this. The after all last phrase is not 譜 harvesting/adopting, even with this musical score. Well don’t you think?

And that was just the stuff I could sort of understand.

Even crazier though, is this other video it had embedded on it’s webpage:

A robot playing Coltrane’s solo from Giant Steps. Sure, it sounds horrible, but that’s still a really impressive piece of robot engineering. I have seen the future and it’s not as good as John Coltrane.

The full text of the article, translated by babelfish (if you can bare it). If you can’t, my favorite part is how the last sentence goes: “When マイルス and shorter is, considerably, the nuance which does not appear in the musical score is used and.” (I don’t think it’s a very good translation)

The saxophone is blown the robot The place where < you know: News item full > The ほ it is Toda, it is ジャイアントステップス. The robot which performs “Giant Steps” In remainder famous solo being performed, it increases. Knowing, as for る one the habit っ ぽ of the ginger and the colt lane it is with becoming aware, the phrase first and so on is widely used, with the treble “ティーッ” barely bending raising from the low place, the sound which it extends, in the feeling which is called to evenness “プー” the っ ちゃ っ て る. Ghost note blowing it is that way, the ちゃ っ て る. Well, as for the articulation there is no ginger. Rear several places, there is about “the っ and sound it does not come out to the ぼ,” but it is it is that wonder. The area of the mouthpiece probably is what mechanism what. Perhaps, adjusting to the case of bending the っ coming, when it presumes, it controls the speed of breath, it is the oak and others which is not. … With thinking, the る vibrato betting on the last sound, the musical interval it can sway after all with lip control, kana. In other words problem of musical score this. The last ぺ ろ ぺ ろ blowing, the る place or. Becoming surely the musical score, improbable it produces that part. Being to be good exactly, it will try comparing with below. “Giant Steps” + musical score animation Don’t you think? this is funny with this. The after all last phrase is not 譜 harvesting/adopting, even with this musical score. Well don’t you think? this, if the pure jazz fan “there is no reason which can be performed with the robot”, would like to see オチ which is denied with feeling is attached, that you think being, it does, the ょ? But, and, “it becomes the well good can じ where perhaps everyone excessively you probably will not really be surprised it is it is not? Perhaps “extent you say. Because in other words, the colt lane especially this time, the robot would like to see was one. Don’t you think? it is the る development (the invention which is called “colt lane change” is afterwards), in consequence of that blowing the cord/code which changes bewilderingly, geometrically repeats revolution pitch. Therefore ジャイアントステップス is known as the difficult tune which ad lib is difficult to do. Actually also the colt lane, the sound shape, “ドレミソ” though what you use. In other words the melody for the cord/code, with in the point which is said arranging simple ones terribly, but just the る what because the line itself of that cord/code is complicated, entirely such wind it has become sound. This, Don’t you think? “it just keeps picking up cord/code tone after all in tune the っ ちゃ っ て, one pattern, -? ” With throwing away the method of thinking, cord/code, it goes with “the scale”, so, revolutionary due to マイルス it becomes the foreshadowing where the method, “mode” appears. Generally, good one there was no colt lane っ て one, it is. Being able to perform the beautiful jazz where ロリンズ some one overflowed song heart directly it was. Don’t you think? so, therefore theory the reason which quite goes, as for the colt lane. … Don’t you think? this it hits, I am associate artist エッシャー. Well as for エッシャー you think that it is good one. There is no feeling that so the ほ and others, it is splendid fine arts, it is not. On the other hand it is the type which it makes groan with theory don’t you think?. So, Michael kind of ブレッカー which takes over the theoretical aspect of that colt lane being to be the flow which falls very to the 腑 does also that the tune which designates the picture of the エ ッ shear, “エッシャー sketch” as hint was made. Now You See It.. Michael Brecker “Now You See It.. ” As for “” エッシャー sketch “Now You See It.. “It has entered. It seems that the rhythm of the basis and the rhythm of tempo of the 3/4 surface alternately, so, it has become the tune like the picture of エッシャー of the jacket. Don’t you think? well so, the rear rhythm. When you mention jazz, “it is – one – one – one -?”, doing, れ time it is with medium ヌキ of three connected signs and with one related to blowing ease which is misunderstood sometimes it is, but if tempo is quick, quick extent, even, namely without leaping, just eight diacritical marks continues at the length of uniformity. In other words it has meant that it is cool to perform mechanically. Becoming so even with “giant ステップス,” it does with the る, the ょ. Therefore, when it is the colt lane, the kana where it can go even with the robot it is not, or the っ て as for the fact that you say is not about as for the jazz fan you agree upon extremely. Well, like the machine however it was not accurate unequaled one, perhaps in a certain sense it becomes the ideal performance, “accurate colt lane of the rhythm”. … When ballad some slow it is the person, キツ it will be and probably will be. When マイルス and shorter is, considerably, the nuance which does not appear in the musical score is used and.