Pause for a moment.

Pause and listen to Reinbert de Leeuw's illumined recording of Erik Satie's Ogives.

This music stops everything.  It makes the now fade away.

As you listen, use that moment to ponder the long-term destiny of the earth and the universe in this Wikipedia article: Timeline of the Far Future.

Highlights include:

In 50 thousand years, “Niagara Falls will have eroded away the remaining 32 km to Lake Erie, and ceased to exist.”

In 100 thousand years, “the proper motion of stars across the celestial sphere… renders many of the constellations unrecognizable.”

In less than 1 million years, “the red supergiant star Betelgeuse explodes in a supernova. The explosion is expected to be easily visible in daylight.”

In 50 million years, “Africa’s collision with Eurasia closes the Mediterranean Basin and creates a mountain range similar to the Himalayas.”

After 230 million years, “The orbits of the planets become impossible to predict.” [PS: remember the slow approach of chaos in this planetary motion simulator?]

In 600 million years, “tidal acceleration moves the Moon far enough from Earth that total solar eclipses are no longer possible.”

In 800 million years, “carbon dioxide levels fall to the point at which C4 photosynthesis is no longer possible. Multicellular life dies out.”

In 7.9 billion years, the Sun, now a red giant, reaches “its maximum radius of 256 times the present day value. … During these times, it is possible that Saturn’s moon Titan could achieve surface temperatures necessary to support life.”

In 100 billion years, “the Universe’s expansion causes all galaxies beyond the Milky Way’s Local Group to disappear beyond the cosmic light horizon, removing them from the observable universe.”

In 1 trillion years, “star formation ends in galaxies as galaxies are depleted of the gas clouds they need to form stars. … The universe’s expansion… multiplies the wavelength of the cosmic microwave background by 1029, exceeding the scale of the cosmic light horizon and rendering its evidence of the Big Bang undetectable.”

By 1 quadrillion years from now, “the Sun will have cooled to five degrees above absolute zero.”

In 3×1043 years from now, assuming protons can decay, black holes will be the only objects left in the universe.

What happens after that, when Boltzmann brains start popping into existence and the Poincaré recurrence theorem gives us another big bang (because of math), I leave to you to read.

And don’t forget to take a look at Satie’s beautiful score for the Ogives.

From Earth Science Picture Of The Day; January 21, 2014:

Aletsch Glacier
Photographer: Renata Hari; Summary Authors: Renata Hari; Jim Foster

Aletsch Glacier, shown above carving through the Bernese Alps of Switzerland, is nearly 14 mi (23 km) in length making it the longest glacier in the entire Alps mountain system. It’s currently in retreat as are nearly all glaciers in the Alps. The dark narrow bands within the glacial ice are medial moraines, formed when individual valley glaciers merged. These moraines extend many miles downstream. The wavy features at bottom are possibly ogives — spacing between the wave crests related to the ice flow over a given season. To give scale to the immensity of this glacier note the hikers at bottom center. Photo taken in late summer of 2013.


Erik Satie Ogives 1-4 (Reibert de Leeuw, piano)


Ogives / Erik Satie



最近の音楽。HOP KENでEttと川手直人さんを購入(とてもいいお店でした)。あとオークションでエリック・サティを300円で落札。初期のさかなの曲にサティの「オジーヴ」に似た曲があります。タイトルは「コカ」。大好きな曲。



Erik Satie Ogives (Les Anges, Elegie, Sylvie, Les Fleurs)


This is the first of four Ogives, by Erik Satie. I’m not really sure what to make of this piece. Satie’s a funny guy. I’m sure most people have heard the Gymnopédies, and these are in the same vein. I only linked to the first one, but I’m sure you can find the other three. These Ogives, along with Satie’s other pieces, find a way of getting inside my head and confusing me. They’re strange. Go listen to this, bitte.


Erik Satie fue a la música lo que Monet al arte, la impresión de lo etéreo hecho sonido. #eriksatie #ogives #impresionismo

Ninguna melodía me produce tanta paz.

#4: Bic Velleda Feutre effaçable à sec pour tableau blanc Pointe ogive Encre cétone Bleu Lot de 12

#4: Bic Velleda Feutre effaçable à sec pour tableau blanc Pointe ogive Encre cétone Bleu Lot de 12

Bic Velleda Feutre effaçable à sec pour tableau blanc Pointe ogive Encre cétone Bleu Lot de 12
de BIC
1.379% Rang en termes de ventes pour Fournitures de bureau : 400 (était classé 5.916 hier)

Acheter neuf : EUR 12,50
11 neuf & d’occasion à partir de EUR 12,00

(Consultez la liste Baromètre des ventes en Fournitures de bureaupour des informations officielles sur le classement actuel de ce…

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Selon la Russie, un « état de guerre » existe tandis que le RU se prépare à frapper la Russie avec une ogive nucléaire

Selon la Russie, un « état de guerre » existe tandis que le RU se prépare à frapper la Russie avec une ogive nucléaire

Selon la Russie, un « état de guerre » existe tandis que le RU se prépare à frapper la Russie avec une ogive nucléaire

Le Ministère de la Défense a rapporté aujourd’hui que la Fédération est désormais en « état de guerre », activant totalement ainsi l’ordre nucléaire de la « Main Morte » du président Poutine présenté le 29 Juillet 2014 aux forces des fusées stratégiques de la Fédération de Russie

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L’architecture gothique française est un style d’architecture répandue en France à partir de 1140 jusqu’à  1500, qui a largement divisé en quatre styles, gothique primitif, haut gothique, rayonnant, de style gothique tardif ou style flamboyant. Le style gothique primitif a commencé en 1140 et a été marquée par l’adoption de l’ogive et la transition de l’architecture de style roman tardif. Pour accroître le mur, les constructeurs divisés en quatre niveaux: arcade (arches et les piliers), galerie, triforium, et clerestorey. Pour soutenir les constructeurs de murs élevés inventé les arcs-boutants, qui ont atteint la maturité seulement à haut gothique au 13ème siècle. 

Le style haut gothique du 13ème siècle canonisé proportions et des formes à partir de début gothique et les a développées pour atteindre la lumière, encore structures hauts et majestueux. La structure de la paroi a été modifié de quatre à trois niveaux: arcade, triforium, et clerestorey. Piers couronnements étaient plus petits pour éviter l’arrêt de la poussée vers le haut visuelle. Les fenêtres de clerestorey changé d’une fenêtre dans chaque segment, retranchés dans le mur, à deux fenêtres unis par une petite rosace. La voûte d’ogives changé six à quatre côtes. Le arcs-boutants matureed, et après ils ont été embrassés à Notre-Dame de Paris et Notre-Dame de Chartres, ils sont devenus la manière canonique pour soutenir de hauts murs, comme ils ont servi des fins à la fois structurelles et ornementales. Le corps principal de la cathédrale de Chartres (1194-1260), la cathédrale d’Amiens, et la cathédrale de Bourges sont également des représentants du style.

Manifesto of Futurist Architecture

No architecture has existed since 1700. A moronic mixture of the most various stylistic elements used to mask the skeletons of modern houses is called modern architecture. The new beauty of cement and iron are profaned by the superimposition of motley decorative incrustations that cannot be justified either by constructive necessity or by our (modern) taste, and whose origins are in Egyptian, Indian or Byzantine antiquity and in that idiotic flowering of stupidity and impotence that took the name of neoclassicism.

These architectonic prostitutions are welcomed in Italy, and rapacious alien ineptitude is passed off as talented invention and as extremely up-to-date architecture. Young Italian architects (those who borrow originality from clandestine and compulsive devouring of art journals) flaunt their talents in the new quarters of our towns, where a hilarious salad of little ogival columns, seventeenth-century foliation, Gothic pointed arches, Egyptian pilasters, rococo scrolls, fifteenth-century cherubs, swollen caryatids, take the place of style in all seriousness, and presumptuously put on monumental airs. The kaleidoscopic appearance and reappearance of forms, the multiplying of machinery, the daily increasing needs imposed by the speed of communications, by the concentration of population, by hygiene, and by a hundred other phenomena of modern life, never cause these self-styled renovators of architecture a moment’s perplexity or hesitation. They persevere obstinately with the rules of Vitruvius, Vignola and Sansovino plus gleanings from any published scrap of information on German architecture that happens to be at hand. Using these, they continue to stamp the image of imbecility on our cities, our cities which should be the immediate and faithful projection of ourselves.
And so this expressive and synthetic art has become in their hands a vacuous stylistic exercise, a jumble of ill-mixed formulae to disguise a run-of-the-mill traditionalist box of bricks and stone as a modern building. As if we who are accumulators and generators of movement, with all our added mechanical limbs, with all the noise and speed of our life, could live in streets built for the needs of men four, five or six centuries ago. 

This is the supreme imbecility of modern architecture, perpetuated by the venal complicity of the academies, the internment camps of the intelligentsia, where the young are forced into the onanistic recopying of classical models instead of throwing their minds open in the search for new frontiers and in the solution of the new and pressing problem: the Futurist house and city. The house and the city that are ours both spiritually and materially, in which our tumult can rage without seeming a grotesque anachronism.
The problem posed in Futurist architecture is not one of linear rearrangement. It is not a question of finding new moldings and frames for windows and doors, of replacing columns, pilasters and corbels with caryatids, flies and frogs. Neither has it anything to do with leaving a façade in bare brick, or plastering it, or facing it with stone or in determining formal differences between the new building and the old one. It is a question of tending the healthy growth of the Futurist house, of constructing it with all the resources of technology and science, satisfying magisterially all the demands of our habits and our spirit, trampling down all that is grotesque and antithetical (tradition, style, aesthetics, proportion), determining new forms, new lines, a new harmony of profiles and volumes, an architecture whose reason for existence can be found solely in the unique conditions of modern life, and in its correspondence with the aesthetic values of our sensibilities. This architecture cannot be subjected to any law of historical continuity. It must be new, just as our state of mind is new.
The art of construction has been able to evolve with time, and to pass from one style to another, while maintaining unaltered the general characteristics of architecture, because in the course of history changes of fashion are frequent and are determined by the alternations of religious conviction and political disposition. But profound changes in the state of the environment are extremely rare, changes that unhinge and renew, such as the discovery of natural laws, the perfecting of mechanical means, the rational and scientific use of material. In modern life the process of stylistic development in architecture has been brought to a halt. Architecture now makes a break with tradition. It must perforce make a fresh start.


Calculations based on the resistance of materials, on the use of reinforced concrete and steel, exclude “architecture” in the classical and traditional sense. Modern constructional materials and scientific concepts are absolutely incompatible with the disciplines of historical styles, and are the principal cause of the grotesque appearance of “fashionable” buildings in which attempts are made to employ the lightness, the superb grace of the steel beam, the delicacy of reinforced concrete, in order to obtain the heavy curve of the arch and the bulkiness of marble.
The utter antithesis between the modern world and the old is determined by all those things that formerly did not exist. Our lives have been enriched by elements the possibility of whose existence the ancients did not even suspect. Men have identified material contingencies, and revealed spiritual attitudes, whose repercussions are felt in a thousand ways. Principal among these is the formation of a new ideal of beauty that is still obscure and embryonic, but whose fascination is already felt even by the masses. We have lost our predilection for the monumental, the heavy, the static, and we have enriched our sensibility with a taste for the light, the practical, the ephemeral and the swift. We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums. We are the men of the great hotels, the railway stations, the immense streets, colossal ports, covered markets, luminous arcades, straight roads and beneficial demolitions.


We must invent and rebuild the Futurist city like an immense and tumultuous shipyard, agile, mobile and dynamic in every detail; and the Futurist house must be like a gigantic machine. The lifts must no longer be hidden away like tapeworms in the niches of stairwells; the stairwells themselves, rendered useless, must be abolished, and the lifts must scale the lengths of the façades like serpents of steel and glass. The house of concrete, glass and steel, stripped of paintings and sculpture, rich only in the innate beauty of its lines and relief, extraordinarily “ugly” in its mechanical simplicity, higher and wider according to need rather than the specifications of municipal laws. It must soar up on the brink of a tumultuous abyss: the street will no longer lie like a doormat at ground level, but will plunge many stories down into the earth, embracing the metropolitan traffic, and will be linked up for necessary interconnections by metal gangways and swift-moving pavements.
 The decorative must be abolished. The problem of Futurist architecture must be resolved, not by continuing to pilfer from Chinese, Persian or Japanese photographs or fooling around with the rules of Vitruvius, but through flashes of genius and through scientific and technical expertise. Everything must be revolutionized. Roofs and underground spaces must be used; the importance of the façade must be diminished; issues of taste must be transplanted from the field of fussy moldings, finicky capitals and flimsy doorways to the broader concerns of bold groupings and masses, and large-scale disposition of planes. Let us make an end of monumental, funereal and commemorative architecture. Let us overturn monuments, pavements, arcades and flights of steps; let us sink the streets and squares; let us raise the level of the city.



    1.    All the pseudo-architecture of the avant-garde, Austrian, Hungarian, German and American;
    2.    All classical architecture, solemn, hieratic, scenographic, decorative, monumental, pretty and pleasing;
    3.    The embalming, reconstruction and reproduction of ancient monuments and palaces;
    4.    Perpendicular and horizontal lines, cubical and pyramidical forms that are static, solemn, aggressive and absolutely excluded from our utterly new sensibility;
    5.    The use of massive, voluminous, durable, antiquated and costly materials.
    1.    That Futurist architecture is the architecture of calculation, of audacious temerity and of simplicity; the architecture of reinforced concrete, of steel, glass, cardboard, textile fiber, and of all those substitutes for wood, stone and brick that enable us to obtain maximum elasticity and lightness;
    2.    That Futurist architecture is not because of this an arid combination of practicality and usefulness, but remains art, i.e. synthesis and expression;
    3.    That oblique and elliptic lines are dynamic, and by their very nature possess an emotive power a thousand times stronger than perpendiculars and horizontals, and that no integral, dynamic architecture can exist that does not include these;
    4.    That decoration as an element superimposed on architecture is absurd, and that the decorative value of Futurist architecture depends solely on the use and original arrangement of raw or bare or violently colored materials;
    5.    That, just as the ancients drew inspiration for their art from the elements of nature, we—who are materially and spiritually artificial—must find that inspiration in the elements of the utterly new mechanical world we have created, and of which architecture must be the most beautiful expression, the most complete synthesis, the most efficacious integration;
    6.    That architecture as the art of arranging forms according to pre-established criteria is finished;
    7.    That by the term architecture is meant the endeavor to harmonize the environment with Man with freedom and great audacity, that is to transform the world of things into a direct projection of the world of the spirit;
    8.    From an architecture conceived in this way no formal or linear habit can grow, since the fundamental characteristics of Futurist architecture will be its impermanence and transience. Things will endure less than us. Every generation must build its own city. This constant renewal of the architectonic environment will contribute to the victory of Futurism which has already been affirmed by words-in-freedom, plastic dynamism, music without quadrature and the art of noises, and for which we fight without respite against traditionalist cowardice.

Antonio Sant’Elia