Bøger af David Cope

I completed the first draft of my fourth symphony in the summer of 1963 just prior to my entering graduate school at USC. The work was inspired by Martin Luther Ling's "I have a dream" speech given on August 28 of that same year. The symphony then lay dormant for several years until I wrote a new version during the early 1990s. The final version was completed in early 2005, some forty-two years after I began it. As with all of my symphonies, Symphony No. 4 has five movements in a vaguely palindrome form

I completed the first draft of my third symphony in the summer of 1962. The draft was not completed until late that year and was influenced in no small part by the Cuban Missile Crises that took place in October and November of that year. While not programmatic in any sense of that word, the pathos of this music and the ultimate peaceful resolution of the crises certainly affected my composing. Subsequent revisions of this work over the next forty or so years produced the final form represented here (2004). As with all Symphony No. 3 has five movements in a vaguely palindrome form.

The score to From Darkness, Light by Emily Howell a computer program with David Cope.

Silver Blood for hammer orchestra by Emily Howell a computer program created by David Cope.

I completed the first draft of my second symphony in the summer of 1961. The work was inspired by a reconciliation (hence the subtitle) between two loves: science and the arts. I spent many years in my youth as an amateur astronomer (both visual and radio), studying mathematics, relativity, and quantum theory. But I also spent an equal number of years performing and composing music, painting, and writing poetry. As I wrote this work I decided my true love lay in combining these areas rather than treating them separately. My symphony then lay dormant for several years until I wrote a new version during the 1980s. The final version of the work heard here was again revised in 2004, some forty-two years from its original state, and now stands complete. As with all of my symphonies, Symphony No. 2 has five movements in a vaguely palindrome form.

It's roughly 100 miles from Monterey to Hearst Castle along Highway 1 in California, but what a drive. Winding roads and thousand foot cliffs accompany one throughout the trip and the extraordinary views make up for the length of the journey. During the last century and much so far of this one, artists and writers spent their time painting, sculpting, and writing of the extraordinary views of the sea, the waterfalls, the forests, and the history of the places there. Even now in winter, painters and authors far outnumber visitors who come to see the country that Henry Miller made famous along with Kim Novak, Elizabeth Taylor, Chevy Chase, Orson Welles, Richard Burton, and Rita Hayworth. In this collection of photographs of paintings of photographs mimicking styles of those that mimicked styles of those times, I have purposely kept the rendering low-resolution to help capture the essence of the period. None of the paintings herein are signed because they represent both various online and personal style algorithms rather than red-blooded crimes by the artists of the times.

The first two photos in this book represent the basis for the following set, all of which were created by multiple algorithms to produce more abstract views. This post-processing includes using apps available commercially as well as my own programs. For those reminiscing about the days when photographs and art in general required the use of human control of algorithms consisting of canvas, pencils, and brushes, please know that all of the processes required to make these drawings required human physical and mental control of hands and brains and were not limited to hardware and software computational components.

The genres Cope's chosen cover the map-from noir, mystery, and thriller, to science fiction, humor, romance, and war-and these stories range in size from a few pages to short novellas. Cope also covers a variety of writing styles, comfortable in all, with first-person narratives, third person fifties' pulp fiction, newspaper factual revelations, and extraordinary allegory, metaphors, and profound observations about the human condition abounding. Without a single exception, I find these stories the perfect antidote to the often endless drivel of today's thousand-page novels and a once-again peek into the world where every word counts. Five stars. - Jon Marshall

The genres Cope's chosen cover the map-from noir, mystery, and thriller, to science fiction, humor, romance, and war-and these stories range in size from a few pages to short novellas. Cope also covers a variety of writing styles, comfortable in all, with first-person narratives, third person fifties' pulp fiction, newspaper factual revelations, and extraordinary allegory, metaphors, and profound observations about the human condition abounding. Without a single exception, I find these stories the perfect antidote to the often endless drivel of today's thousand-page novels and a once-again peek into the world where every word counts. Five stars. - Jon Marshall

The genres Cope's chosen cover the map-from noir, mystery, and thriller, to science fiction, humor, romance, and war-and these stories range in size from a few pages to short novellas. Cope also covers a variety of writing styles, comfortable in all, with first-person narratives, third person fifties' pulp fiction, newspaper factual revelations, and extraordinary allegory, metaphors, and profound observations about the human condition abounding. Without a single exception, I find these stories the perfect antidote to the often endless drivel of today's thousand-page novels and a once-again peek into the world where every word counts. Five stars. - Jon Marshall

The waves and other similar images presented herein, provide a variety of un-retouched photos of water being sloshed in a two-inch deep cooking pan on a summer's afternoon. I am curiously attracted to mathematic nonlinear chaotic images, both those that reveal organization (attractors) and those that produce apparent disorganization (chaos). The occasional multiple images of the sun's reflection and the various scratches and stains on the metal holding the water make, for me at least, a kind of code that enhances rather than detracts from the resultant images.

David Cope has written many novels, short stories, non-fiction books and articles, and here presents seven original plays including three comedies and four dramas. He currently lives in Santa Cruz, California and Santa Fe, New Mexico with his wife of forty-five years Mary Jane Cope.

This book contains five variants of the game of chess. The variants are generally described in order of difficulty beginning with the easiest and ending with the hardest. Each chapter contains four puzzles with the solutions given at the end of the book. Only those with a good grasp of standard chess performance should attempt playing these games as otherwise they will surely find themselves lost amidst two overlapping sets of rules.

A young state senator hears about a mass shooting at a relatively close-by grade school where over 20 children are murdered. While the murderer is killed by the police, the fact that the children are dead and the extended family forever changed is cataclysmic. The senator goes on a rampage taking him to run for US senator and a lifelong attempt to pass an amendment for major gun reforms. When he wins the election, he learns how complex and personal congress can be and one thing leads to another.

What if you'd been born and raised in L.A. during the era of movies with sound and soon-to-be color, the Great Depression, the times of Mickey Cohen and the Mob, crooked cops, dope, and Bogart, Bacall, and Greenstreet? And what if three of the four first women you dated were murdered, garroted in a most heinous way? And you didn't do it? What if you were the cops and thought you had the one thread that tied the three murders together but couldn't hang it on your prime suspect because he was alibied to the max? And what if you were a young woman in love with that suspect but he wouldn't take you out? Even on a first date? And what would that mean? Welcome to the world of glamour and violence, crime and sex, celebrities and nobodies. To the world of the 1940s and 50s. Dateline? Hollywood, California. Where everything happens at least once. And maybe you get caught, and maybe you don't.

A book of 2000 haiku some created by Japanese Masters and some by machine code. Your decision: to figure out which is which.

The Three Faces of Eve, a 1957 film directed by Nunnally Johnson, Psycho, Hitchcock's classic black-and-white film from 1960, and Shutter Island from 2007, directed by Martin Scorcese, have two things in common; all three films are incredible, and all three attempt to explain the riveting problems of Dissociative Identity Disorder (DID) or what used to be called Multiple Personality Disorder (MPD). In Lucy's world, the main character has at least eleven other identities that protect her from the horrendous pains of a childhood confused with sexual abuse and a lack of love and safety. Author David Cope seems to ask the question, how can we be so cruel to one another? And, is it any wonder that we turn into shattered people attempting in whatever ways we can to protect ourselves? The ending alone is worth the admission price.

In Back Story, Will Francis learns about the loneliness of riding the ways in a dingy of the Atlantic, about those who wish to steal his techniques for Artificial Life, discovers more about his one true love, Cassie Davies, . He also again meets a woman named Cassandra (not Cassie), who he can't seem to figure out (whose side she's on, when shy's lying and who's she's working for, etc.). Like other books in this series, this is computer generated by a program called ALMA invented by David Cope

Tom has clubbed thumbs and gets plenty of flack over them. Then his class takes a tour of a nuclear power plant and he becomes a hero because of his thumbs.

Gambit is about a young boy who has a problem. He asks his father to help him solve it, and his father teaches him to play chess instead. And the boy solves the problem based on what he's learned.

This book contains sixty-four sonnets in the Shakespearian form. With few exceptions-albeit less than Shakespeare made with his-I have followed the ABAB-CDCD-EFEF-GG rhyming scheme, iambic pentameter meter, and three quatrains followed by a couplet. I have been less careful with the subtle shifts in tone around line nine but conformed to the less subtle surprise in the couplet. Writing a sonnet is like solving a complex crossword puzzle with the additional rules that it must make sense, follow proper syntax, abide by known semantics, still be a poem, and have an overall goal that's not always obvious. Like the haiku in my book called Comes the Fiery Night, some of the sonnets in this collection were created by a computer program I created. To give you a hint as to which might be which, I confess that I had to rake through hundreds of outputs to find the few I included here. To help those of you who may hate even the concept of computer-produced poems, I admit that the ones that I produced on my own here are far, far better than the others. Of course, the fact that I created the program that created the computer-produced poems, I suppose I need to take credit for the entire 64.

This computer generated novel describes more of Will Francis's adventures in the world of Artificial Life and the matters in which he attempts to use the results to engage in a variety of attempts to cure such things as global warming. Along the way, his efforts receive biased based reactions such as cults and religions who attempt to destroy his projects. His knowing martial arts such as Bokator helps him defend his lab, the people that work in his lab, and the future potentials of his work in his lab to achieve the benefits of his work.

Poe, Hemingway, Twain, Salinger, O. Henry, and Updike move over, there's clearly a new rival on the block. In his one hundred and twenty three short stories published in six volumes, David Cope has created a new paradigm of the form. The genres he's chosen cover the map-from noir, mystery, and thriller, to science fiction, humor, death, and amnesia-and these stories range in size from a few pages to short novellas. Cope also covers a variety of writing styles, comfortable in all, with first-person narratives, third person fifties' pulp fiction, newspaper factual revelations, and extraordinary allegory, metaphors, and profound observations about the human condition abounding. Without a single exception, I find these stories the perfect antidote to the often-endless drivel of today's thousand-page novels and a once-again peek into the world where every word counts. Five stars. Jon Marshall, Bookworm Magazine

Witcomb Briar works for the federal government of the United States in charge of information security. So secret is his position that few know of its existence, so powerful that he oversees the President. The White House, Congress, Supreme Court and their assistants are surveilled by Wit-as he's generally known-twenty-four seven. When he discovers something more than illegal in progress with a long list of accomplices, he suddenly has no one to turn to. Revealing what he knows to the press will throw the government into chaos. Not revealing what he knows will create a totalitarian state. Where's the win in a no-win situation?

Bully Boy is about a sixth grader named Jesse who meets a bully who steals his lunch money everyday. Jesse figures out a non-violent way to stop the bully and keep him from bullying anyone else.

To Where Your Lifeless Bodies Go follows nine stories intertwined in ways that only those truly dedicated to finding those ways after much thought will discover. The stories do not have any characters in common and the fragments do not necessarily develop in order. Surprisingly readable, To Where Your Lifeless Bodies Go will keep readers awake at night guessing the endings of each of the 'stories' and how they actually do relate to one another. Many will wrestle with continuity, waiting for characters and plots to continue, but not finished until the ending. Trust me, though, nothing here is arbitrary or random in any way. The overall narrative glue will hold your attention and when you figure out the novel in full, its surprise ending will make it worth every bit of the time you've spent in thinking it through.

Land of Stone for chamber ensemble composed by Emily Howell, a computer program created by David Cope.

Book 1 of the Will Francis five novel series. Will Francis, professor of computer science at a small university in North Dakota, tries to save the life of a young woman shot in the back by an unknown assailant. Then another woman, with a striking resemblance to the first, is beaten to death. Events spiral out of control as it becomes obvious that he is the target of a police investigation that places him under arrest for both murders. Out on bail, and running from he knows not whom, Francis buries himself in his research - artificial life. After a car bombing and several other violent crimes against those bent on protecting him, he discovers that it is not he these perpetrators want, but the secret revealed by his programs. In taking the offensive, Francis finds himself lost in a labyrinth, knowing neither whom to trust nor where to turn. As events continue to unfold, he realizes that he possesses knowledge that could force modern civilization back to the Stone Age. Only by challenging logic and uncovering deception can he save an unaware world from certain disaster. Time, however, is not on his side.

He envisioned he was in a dirigible high over the rough mountains drifting soundlessly over a dreamscape far below. Blue sky. No fog. What's more, a wondrous feeling of weightlessness. He endeavored to find where he was. America or Canada. Denver or Banff. Regardless of how tricky he tried, however, he couldn't understand it. Lower regions were mountains. Streams were blue veins. Anything looked like everything else. His aircraft got a headwind and both took upward until the earth underneath him was only a mass of tangled grounds, seas, and fogs. Green and blue. What's more, white. Stacks of white.