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The home may span only about 1, square feet, but it lives much larger.

It feels like a really spacious environment. After living in the home for a decade, the Baileys relocated to the East Coast. A fireplace was added; so were skylights. The kitchen was deleted in favor of a central island, and the white vinyl floor tiles were replaced with ceramic ones.

Case Study House No. 21

In the late s new owner Dan Cracchiolo came into the picture, a mid-century purist who engaged Pierre Koenig to bring the home back to its original state. He did, with the undertaking lasting nearly double the time it took to construct the home in the first place. The Case Study House program produced a living laboratory of mid-century innovation—a twining of the finest fruits in engineering, materials, and design to produce a collection of homes still cherished today for their unmatched blend of pragmatism and beauty. Remember Me.

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They appear to be speeding up at different rates, eventually moving much faster than the ear or eye can keep up with. Additional flurries of notes enter along with some jackhammering chords. The resultant rhythm is a trainwreck of the wildest proportions, sounding more like a factory gone haywire than a piano composition. Is this the sound of chaos, scientific precision, or both?

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After a while, something magical begins to happen. The notes converge to become a coherent, undulating cascade of sound, as if time itself had splintered into several dimensions, then folded back on itself to become one.

Then, before the audience has much time to comprehend this fleeting moment of unity, the piece comes to an abrupt stop. What just happened? Nancarrow steps up to the stage again, inserts another roll, and another piece begins. He repeats this process about 25 times before ending the concert.

There are few composers who have forged such a singular creative path as Conlon Nancarrow. Painstakingly punched on paper rolls, his compositions contain a sequence of precise instructions which are relayed to a machine for processing. The machine, in this case, was an Ampico reproducing player piano. As the first mass-produced instrument for the playback of recorded music, the Ampico had its heyday in the early 20th century mainly as a sort of early home entertainment system. In the s, several composers, most notably Paul Hindemith, Igor Stravinsky, Ernst Toch and George Antheil, had written compositions for it, but their enthusiasm was short-lived.

By the time Nancarrow made the decision to work with the instrument in the late s, it had almost become obsolete, replaced by a cheaper and smaller device known as the phonograph. For Nancarrow, though, the player piano was a godsend, giving him the ability to express his complicated rhythmic ideas without dealing with the limitations — and hostilities — of human performers. Born in Texarkana, Arkansas in , Conlon Nancarrow had a fairly affluent upbringing. His father worked for an oil company before eventually becoming mayor of the town in At age six, he began piano lessons, but like most children he detested his overly rigid teacher.

He was known to talk back to teachers, or even simply walk out of class when he felt disrespected. By age 15, he knew he wanted to be a composer, but his father tried to push him into the more profitable career of engineering. He enrolled at Vanderbilt University, but dropped out after a semester. A few years later, he tried studying at the University of Cincinnati College-Conservatory of Music, but even there he found the curriculum too restrictive.

On a different note

At age 20, he dropped out again, married a 16 year old contrabass player named Helen Rigby and moved to Boston, where he joined the Communist Party and began private composition lessons with Roger Sessions and Walter Piston. From his compositional studies, Nancarrow took away a fascination with canon form, counterpoint and voice-leading in the tradition of Bach, expressing little or no interest in the classical notion of harmony. The rhythmic and temporal relationships involved were too complex for humans of the time to deal with, both mentally and physically.

Cowell believed that the ratios between different frequencies in creating harmonies for an octave, for a perfect fifth, for a perfect fourth, for a major third, and so on could also be applied to rhythm. For example, one rhythm could be set against another going twice as fast, equivalent to an octave in the pitch domain. A more complex composition might involve setting several rhythmic lines against each other with tempos of , and 80 beats per minute, simulating a major triad From there, as Nancarrow discovered, the possibilities were endless.

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But the problem of how to perform such music still stood in his way. Fortuitously, the book contained this offhand recommendation:. This would give a real reason for writing music specially for player-piano, such as music written for it at present does not seem to have, because almost any of it could be played instead by two good pianists at the keyboard.

By this time, Nancarrow was living on a shoestring in New York and unable to afford a player piano. They found that most of them do not consider themselves Type A, dispelling the idea that only obsessive superplanners can stick to a diet. They learned that many successful dieters were self-described morning people.

Other research supports the anecdotal: for some reason, night owls tend to weigh more than larks. The researchers also noticed that people with long-term weight loss tended to be motivated by something other than a slimmer waist—like a health scare or the desire to live a longer life, to be able to spend more time with loved ones. After all, most people in the study say they had failed several times before when they had tried to lose weight.

Instead they were highly motivated, and they kept trying different things until they found something that worked for them. Hill, Wing and their colleagues agree that perhaps the most encouraging lesson to be gleaned from their registry is the simplest: in a group of 10, real-life biggest losers, no two people lost the weight in quite the same way. The Bariatric Medical Institute in Ottawa is founded on that thinking. When people enroll in its weight-loss program, they all start on the same six-month diet and exercise plan—but they are encouraged to diverge from the program, with the help of a physician, whenever they want, in order to figure out what works best for them.

Yoni Freedhoff, an obesity expert and the medical director of the clinic. Everyone here is doing things slightly differently. In most cases, people try a few different plans before they get it right. Jody Jeans, 52, an IT project manager in Ottawa, had been overweight since she was a child. When she came to the clinic in , she was 5 ft. Though she had lost weight in her 20s doing Weight Watchers, she gained it back after she lost a job and the stress led her to overeat.

Jeans would wake up on a Monday and decide she was starting a diet, or never eating dessert again, only to scrap the plan a couple of days, if not hours, later. A March study found that people who internalize weight stigma have a harder time maintaining weight loss. It took Jeans five years to lose 75 lb. She credits the slow, steady pace for her success. Natalie Casagrande, 31, was on the same program that Jeans was on, but Freedhoff and his colleagues used a different approach with her.

One time, she even dropped from a size 14 to a size 0 in just a few months. When she signed up for the program, Casagrande weighed lb. At 4 ft.


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  • Once she started working with the team at the Bariatric Medical Institute, Casagrande also tracked her food, but unlike Jeans, she never enjoyed the process. What she did love was exercise. She found her workouts easy to fit into her schedule, and she found them motivating. It took Casagrande three tries over three years before she finally lost substantial weight. During one of her relapse periods, she gained 10 lb. She tweaked her plan to focus more on cooking and managing her mental health and then tried again.

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    Today she weighs lb. Freedhoff says learning what variables are most important for each person—be they psychological, logistical, food-based—matters more to him than identifying one diet that works for everyone. The amount of effort needed to understand your patients is more than many doctors put in.