Posts Tagged Chicken Monkey Duck
I’ve been going to MarsCon, mainly for the Dementia Track of comedy music concerts, whenever it’s convenient for me to get there before or after the JoCo Cruise. I’m a fan of most of the acts from The FuMP and other sites, and have contributed some of my own creations to The FuMP Sideshow.
This year, I finally had the nerve and the organisation to ask to perform at MarsCon in the two concerts where people not doing a main stage set can perform. In the FuMP Jukebox concert, where artists can each perform one of their original songs, I sang ‘Why I Perform at Open Mics‘, slightly censored as it was a daytime show:
I didn’t have the best breath control, as is often the case (and I was cold, which didn’t help) but I didn’t make any major mistakes, and Devo Spice complimented my rhymes later, so I’m going to count that as a huge success.
Then, during the Dementia Smackdown concert, where each artist covers another artist’s song, I sang the only cover song I know how to do — Chicken Monkey Duck, by Mike Phirman. Mike had kindly provided me with the accompanying video without his vocals, the same one he uses for his performances, so that I could perform it at open mics, so I used that at MarsCon as well.
Perhaps I should work on not staying at the back of the stage next to the exit, but otherwise, I did okay. Since this made me officially a performer in the Dementia Track, I was included in the Dementia Smackdown Wrestling. This is a simulated wrestling match between Dementia Track artists put together by JP Tuesday — my only input was providing a picture to model my avatar after. I won’t reveal how I did — watch it and see!
I also got a snazzy certificate for participating in the Dementia Track, which is currently tucked away safely in my luggage. All in all, it was a great experience.
After that I visited The Biggest Ball of Twine in Minnesota, Kennedy Space Center, and of course, the JoCo Cruise, where the real Mike Phirman was a performer, for the third time — and if you think my performance of Chicken Monkey Duck was impressive, just wait till you see his sets on the cruise! I’ll upload my footage of it, and perhaps recount my other adventures, some time after I get home; I’m currently visiting the San Francisco Bay Area for a few more days.
In unrelated news, taking a job at a too-small-to-not-fail company has once again bitten me in the duck, so I’m looking for work again. If you’re at a reasonably stable company that needs a programmer with mathematics and linguistics training who can also sometimes write and perform weird things, let me know!
Here is yet another parody of My Favourite Things from The Sound of Music, this time about some of the interesting people I met on JoCo Cruise Crazy 3 — not even including the official entertainers. I could fill several more verses and link to more examples of some of the descriptors; Sea Monkeys really are diverse, yet we have so much in common. I’ll add more links to explanations of the various people as video goes online. Some of these links relate to previous cruises, but the same kinds of people were on the third.
Beardos and weirdos, who cares what the norm is?
Queer folk, craft beer folk and chiptunes performers [substitute ‘standup’ or ‘improv’ or ‘nerd rock’ here if you like; they were all there]
Coders and yodas and soda geeks too
All folks I’ll miss now that crazy week’s through
Now if I may blow my own horn (which is probably out of tune) a bit more, here are a few other things I did on the cruise which I’m quite proud of. After using Mike Phirman‘s song Chicken Monkey Duck as mere word fodder to illustrate grapheme-colour synaesthesia and binary trees, as the cruise approached, while I was procrastinating from practising the poem I planned to recite for the open mic night, I finally got around to actually memorising it. Then on the cruise, I had the honour of singing it with Mike Phirman himself, and made one mistake (a monkey instead of a chicken; I am not counting singing the album version instead of the video version he does live, which has an extra pause in it, as a mistake), which I’m going to say was for the purpose of wabi-sabi.
Mike said nobody other than him had memorised that much of it before. I’m sure I’ve seen people doing it on YouTube, but perhaps they were reading the lyrics.
Later in the cruise, I recited my poem about Star Wars during the open mic, feeling justified in using Chicken Monkey Duck as an excuse for the inevitable mistakes (this is how it should have gone.) Still, it’s better than choosing a poem on the night and then reading it, as I did last year.
Mike Phirman (who, in case you were wondering, had said earlier that when you go on stage your body shuts down its vital functions and ‘you can really, really, really have to pee before you go on, and then you walk on stage and your body goes into like war mode, where it’s like, ‘There’s no time for that! We are at war!”) said it was awesome and Paul Sabourin commended my nerd pandering, so I’ll consider that a success! Sure, they’re pretty much paid to say that, but they’re paid to say it partly out of my pocket, so I’ll take it.
There’s one other creative thing I did on the ship, but that’s worthy of being the Ace. I will post it very soon.
First, check out Vi Hart‘s video about the Thanksgiving turduckenen-duckenen:
Okay, there are monkeys instead of turkeys, and the mathematics isn’t quite as explicit, but it’s pretty similar, don’t you think? Now, let’s imagine that Mike Phirman is actually singing the recipe for a fractal turducken, or rather, monducken. You can imagine all the monkeys are turkeys if you’d rather eat the result than present it to some pretty thing to please them. (Note: Please do not kill any actual monkeys.) Monkeys, like birds, belong in trees, so I wrote an AppleScript to draw binary trees in OmniGraffle based on the text of the song. You can try it for yourself if you like; all you need is a Mac, OmniGraffle, and a text file containing some words. See the bottom of this post for links and instructions.
If Mike’s reading the binary tree recipe layer by layer, like the first example in Vi’s video, one possible tree for the first stanza of Chicken Monkey Duck looks like this, where the orange ovals are monkeys, blue hexagons are chickens and green clouds are ducks. You can click it (or any other diagram in this post) for a scalable pdf version where you can read the words:
I added numbers so you can easily tell the chickens, monkeys and ducks apart and see which way to read the tree. It’s simple enough now, but the numbers will be useful for reading later trees which are not in such a natural reading order. This is called a breadth-first traversal of the tree, in case you’re interested. Now, what do birds and monkeys do in trees? They nest! So I wrote another script that will take any tree-like diagram in OmniGraffle and draw what it would look like if the birds, monkeys, or whatever objects they happen to be (the drawing is pretty abstract) were nested inside each other, just like the quails inside the chickens inside the ducks inside the turkey. This is what the monducken described by the first stanza of Chicken Monkey Duck, in the tree structure shown above, would look like:
The Monducken script allows using a different shape for each animal as redundant coding for colourblind people, even though it already chooses colours which most colourblind people should be able to distinguish. But that makes the nested version look a little messy, so here’s the above diagram using only ovals:
If you named this particular recipe in the other way, going down the left side of the tree and then reading each branch in turn in what is known as a pre-order traversal, it would be called a Monenmonenduckduckmon-monmonducken-enenmonduckmon-enmonduck-enduckmonducken-enmonen-duckenenmon-monenmon. It doesn’t sound nearly as nice as Turduckenailailenailail-duckenailailenailail because Mike Phirman didn’t take care to always put smaller animals inside large ones. I’m not holding that against him, because he didn’t realise he was writing a recipe, and besides, it’s his birthday. For reasons I’m not sure I can adequately explain, it’s always his birthday.
But what if I completely misunderstood the song, and his recipe is already describing the fractal monducken as a pre-order traversal, always singing a bird or monkey immediately before the birds and monkeys inside it? Well, don’t worry, I added a ‘pre-order’ option to the script, so you can see what that would look like. Here’s the tree:
and here’s how the actual birds/monkeys would look if you cut them in some way that showed all the animals, dyed them the correct colours, and looked through something blurry (here’s the version with different shapes):
Okay, but that’s only the first stanza. What if we use the whole song? If we pretend the recipe is breadth-first, this just means all the extra monkeys and birds will be at the bottom levels of the tree, so the outer few layers of our monducken will be the same, but they’ll have a whole lot of other things inside them:
Here’s a close-up. Isn’t it beautiful?
If the entire song were treated as a pre-order monducken recipe, we’d still have the same monkey on the outside, but the rest would be quite different:
We could also read the birds and monkeys from left to right, as Vi did in her video. That’s what’s called an in-order tree traversal. But as delicious as they are mathematically, none of these orderings make much sense from a culinary perspective. Even if the monkeys were turkeys, it’s obvious that a nice big goose should be the outer bird. Vi suggested that herself. Of course, we could put the goose on the outside simply by reversing the song so it started with goose. But it would be much more fun and practical to pretend that Mike is naming the two inner birds before the one that contains them. This is called a post-order traversal, because you name the containing bird after the two birds or monkeys it will contain. It makes sense for a recipe. First you prepare a monkey (or turkey) and a chicken, then you immediately prepare a chicken and put them into it. You don’t have your workspace taken up with a whole lot of deboned birds you’re not ready to put anything into yet. Here’s one way the recipe could be done:
Note that no matter what kind of traversal we use, there are actually several ways the recipe could be interpreted. If Mike says ‘monkey chicken chicken’ you know you should take a monkey and a chicken and put them in a chicken. But if the next words are ‘monkey chicken’, do you take that stuffed chicken and a monkey and put them inside a chicken? Do you debone the monkey and the chicken and wait for the next bird to find out what to put them into? What if there’s no next bird? What if there’s only one more bird (let’s say a duck) and you end up with a stuffed chicken, a stuffed duck, and nothing to stuff them into? You’d have to throw one of them out, because obviously your oven only has room for one monducken. Assuming you want two things in each thing, and you don’t know how long the song’s going to be, the best way to minimise this kind of problem is to always take your latest stuffed thing and the next, unstuffed thing, and put them inside the thing after that. The worst that’ll happen is you’ll have to throw out one unstuffed bird or monkey. But then you end up with a really unbalanced monducken, with a whole lot of layers in one part and lonely debonely birdies floating around in the rest.
It helps to have a robot chef on hand to figure out how many full layers of monducken you can make without it being too asymmetric. Mine makes the trees completely balanced as deeply as possible, and then does whatever was easiest to program with the remaining birds and monkeys. In this case it was easiest for my program to stuff a whole lot of extra animals into that one monkey on the left. This is what it looks like, with the varied shapes this time. Luckily, geese are rectangular, so they fill your oven quite efficiently:
I like how you can see the explosion of duck radiating out from the inner left, engulfing all the other birds and monkeys before itself being swallowed by a goose. Such is life.
If you would like to make diagrams like this yourself, there are two AppleScripts you can use. Both of them require OmniGraffle 5 for Mac, and if you want to make trees with more than 20 nodes you’ll probably need to register OmniGraffle.
The first is Monducken diagrammer, which you can download either as a standalone application (best if you don’t know what AppleScript is) or source code (if you want to tweak and critique my algorithms, or change it to use OmniGraffle Professional 5 instead of OmniGraffle 5.) Because it’s AppleScript, it works by telling other applications what to do, rather than doing things itself. So when you run it, TextEdit will ask you to open the text file you want to turn into a tree. Once you’ve opened one, OmniGraffle will start up (you may need to create a new document if it’s just started up) and ask you two things. First it will ask what kind of tree traversal the text file represents. Then it will ask you what kinds of shapes you want to use in your tree. You can select several shapes using the shift and command keys, just as you would for selecting multiple of just about anything on your Mac. Then you can sit back and watch as it creates some shapes and turns them into a tree.
The other one is Tree nester (standalone application/source code) You should have an OmniGraffle document open with a tree-like diagram in it (I suggest a tree generated using Monducken diagrammer; it has not been tested on anything else, and will probably just duplicate most of the shapes that aren’t trees or end up in an infinite loop if there’s a loopy tree) before you run this. It won’t ask any questions; it’ll just create a new layer in the front OmniGraffle document and draw nested versions of any trees into that layer.
If you’re looking at the source code, please bear in mind that I wrote most of this while on a train to Cologne last weekend, based on some code I wrote a while ago to draw other silly diagrams, and I really only dabble in AppleScript, and I forgot about the ‘outgoing lines’ and ‘incoming lines’ properties until I’d almost finished, so it probably isn’t the best quality AppleScript code. Not the worst either though. I welcome any tips.
I’ve mentioned before that I have grapheme-colour synaesthesia. That means that I intuitively associate each letter or number with a colour. The colours have stayed the same throughout my life, as far as I remember, and they are not all the same colours that other grapheme-colour synaesthetes (such as my father and brother) associate with the same letters. I still see text written in whichever colour it’s written in, but in my mind it has other colours too. If I have to remember the number of a bus line, there’s a chance I’ll remember the number that goes with the colour it was written in rather than the correct letter, or I’ll remember the correct letter and look in vain for a bus with a number written in that colour.
Well, I’ve been wondering whether it could work the other way.
- Could grapheme-colour synaesthetes learn to look at a sequence of colours that correspond to letters in their synaesthesia, and read a word?
- Could this be used to send code messages that only a single synaesthete can easily read?
- Could colours be used to help grapheme-colour synaesthetes learn to read a new alphabet, either one constructed for the purposes of secret communication, or a real script they will be able to use for something?
- What would be the difference in learning time for a grapheme-colour synaesthete using their own colours for the replacement graphemes, a grapheme-colour synaesthete using random colours, and a non-synaesthete?
I know that for me, there are quite a few letters with similar colours, and a few that are black or white, so reading a novel code wouldn’t be infallible, but I suspect I would be able to learn a new alphabet a little more easily or read it more naturally if it were presented in the ‘right’ colours. I wonder whether the reason the Japanese symbol for ‘ka’ seemed so natural and right to me was that it seemed to be the same colour as the letter k.
It occurred to me that, as a programmer and a grapheme-colour synaesthete, I could test these ideas, or at least come up with some tools that scientists working in this area could use to test them. So I wrote a little Mac program called Synaesthetist. You can download it from here. In it, you choose the colours that you associate with different letters (or just make up some if you don’t have grapheme-colour synaesthesia and you want to know what it’s like) and save them to a file.
Then you can type in some text, and you’ll see the text with the letters in the right colours, like so:
But even though this sample is using the ‘right’ colours for the letters, it still looks all wrong to me. When I think of a word, usually the colour of the word is dominated by the first letter. So I added another view with a slider, where you can choose how much the first letter of a word influences the colours of the rest of the letters in the word.
This shows reasonably well what words are like for me, but sometimes the mix of colours doesn’t really resemble either original colour. It occurred to me that an even better representation would be to have the letters in their own colours, but outlined in the colour of the first letter. So I added that:
Okay, so that gives you some idea of what the words look like in my head. And maybe feeding text through this could help me to memorise it. Here’s an rtf file of the lyrics to Mike Phirman‘s song ‘Chicken Monkey Duck‘ in ‘my’ colours, with initial letter outline. I’ll study these and let you know it it helps me to memorise them. To be scientific about it, I really should recruit another synaesthete (who would have different colours from my own, and so might be hindered by my colours) and a non-synaesthete to try it as well, and define exactly how much it should be studied and how to measure success. But I’m writing a blog, not running a study, so if you want to try it, download the file. (I’d love it if somebody did run a study to answer some of my questions, though. I’d add whatever features were necessary to the app.)
But these functions don’t go too far in answering the questions I asked earlier. How about reading a code? Well, I figured I’d be more likely to intuit letters from coloured things if they looked a little bit like letters: squiggles rather than blobs. So first I added a view that simply distorts the letters randomly by an amount that you can control with the slider. I did this fairly quickly, so there are no spaces or word-wrapping yet.
I can’t read it when it gets too distorted, but perhaps it’s easier to read at low-distortion than it would be if the letters were all black. Maybe I’d be able to learn to ‘read’ the distorted squiggles based on colour alone, but I doubt it. This randomly distorts the letters every time you change the distortion amount of change the text, and it doesn’t keep the same form for each occurrence of the same letter. Maybe if it did, I’d be able to learn and read the new graphemes more easily than a non-synaesthete would. Okay, how about just switching to a font that uses a fictional alphabet? Here’s some text in a Klingon font I found:
I know that Klingon is its own language, and you can’t just write English words in Klingon symbols and call it Klingon. But the Futurama alien language fonts I found didn’t work, and Interlac is too hollow to show much colour.
Anyhow, maybe with practice I’ll be able to read that ‘Klingon’ easily. I certainly can’t read it fluently, but even having never looked at a table showing the correspondence between letters and symbols, I can figure out some words if I think about it, even when I copy some random text without looking. I intend to add a button to fetch random text from the web, and hide the plain text version, to allow testing of reading things that the synaesthete has never seen before, but I didn’t have time for that.
Another thing I’ll probably do is add a display of the Japanese kana syllabaries using the consonant colour as the outline and the vowel colour as the fill.
Here’s a screenshot of the whole app:
As I mentioned, you can download it and try it for yourself. It works on Mac OS X 10.7, and maybe earlier versions too. To use it, either open my own colour file (which is included with the download) or create a new document and add some characters and colours in the top left. Then enter some text on the bottom left, and it will appear in all the boxes on the right side. If you change the font in the bottom left, say to a Klingon font, it will change in all the other displays except the distorted one.
This is something I’ve coded fairly hastily on the occasional train trip or weekend, usually forgetting what I was doing between stints, so there are many improvements that could be made, and several features already halfway developed. It could do with an icon and some in-app help, too. I’m still working on this, so if you have any ideas for it, I’m all ears.