Why do we remember the past but not the future? Why are rubber bands so stretchy? Is the universe right-handed or left-handed, and what does this even mean!? We know absolute zero is unattainable --- but can we reach $$\texttt{negative}$$ Kelvin?! And can your atoms ever escape from a black hole? Our common theme will be IRREVERSIBILITY in physics --- that is, processes that go forward more than they go backward. Some of this fast-paced survey of ALL OF TIME will be based on Richard Feynman's freely available lecture "The Distinction between Past and Future". I invite you to check it out beforehand!

Who creates music? The composer? The musician? The audience? The creative burden of bridging between abstract emotion and concrete sensation has oscillated drastically among those roles, from taciturn Bach to picky Chopin, from improvisatory Bill Evans to contrarian John Cage. In such multi-party creation, communication is key, hence the development of elaborate scoring notations and of diverse performance technologies. Now, modern tools invite a new shift toward a fourth creative role: that of a visual animator. An animation is a score for listeners, a new channel through which parties may communicate musical intention. Thus, parts critic, guide, and poet, an animator conducts not the musicians but the audience. In this class, we will dive into techniques for enhancing and explaining music by means of synchronized video. We will trace a winding history --- through Solesmes Abbey, Fischinger's "Motion Paintings", the Fantasia films, and MilkDrop --- to arrive at and analyze Stephen Malinowski's YouTube work. In a final and especially interactive session, we will create our own animation of music according to our tastes as a classroom.