When calling to mind the Los Angeles Philharmonic, everyone’s (and all the posters’) focus is on Gustavo Dudamel, (or, the Dude, as I call him), all unruly hair and visible enthusiasm and so forth, and that’s great. He’s an excellent conductor. However, one of the unsung (as far as I know*) visibly spectacular performers of the LA Philharmonic is the excellent principal viola player whose name I do not know [update: see below*] who puts on the most remarkable physical performance every time I go (and presumably those other times too). Actually, the violist who sits next to her is also remarkable, since she manages without being distracted by her neighbour to maintain a very upright and solid, firmly planted, legs wide stance, in part providing a canvas upon which the viola player I first mentioned can splash bright splashes of movement all over the place!
She rocks, sways, jerks, and contorts (sometimes even during quiet slow bits)- doing the craziest things with her legs, head, and bow arm, and so much of the time looks like she is about to spectacularly fall off her chair and wipe out at least half the viola section! This is why her colleague right next to her is also remarkable, as she acts as this wonderful un-distractable “straight man” to the physical pyrotechnics helping make them all the more remarkable by contrast. Last night I tried to capture some of the energy of the hyper-energetic viola player in a quick sketch (during Click to continue reading this post
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So I am here to help celebrate Joe’s work on the occasion of his 60th (hard to believe that number, frankly), and it will be good to see all the people who show up, and of course it’ll be excellent to see Joe. Part of my help in the celebrations is to organize and run a panel about D-branes, which will be on at 11:00 tomorrow. I’ll be reflecting a bit on the good old days when D-branes really broke, and turned out to be the key tool of the Revolution that took place in the field. In lectures and writings from that time and long after I used to refer to them as the Heroes of the Revolution, and in honor of that and of Joe I have named this session D-Branes, Tools of the Revolutionary, or something like that. Joe helped bring about the revolution, and his tools were D-branes, you see. 

You know such lines, intuitively, in a non-trivial example. Next time you look at a globe (wait, does anyone but me look at maps and globes any more? I love them!), you’ll probably see examples of those lines drawn in. They are the “great circles”, the lines of longitude, and the equator. (Image used with 



