Boing Boing reader Parker Higgins shares this photograph, and explains:
I took this picture of a nyan cat sticker on the map of the San Francisco bay area public transit system, BART. The cat’s right where all four colored lines go over the Bay Bridge, so it takes advantage of the map’s implied rainbow. I love it.
Craig Davis Pinson, a composer who is a Boston Conservatory student, writes in the liner notes for the video embedded above:
This is a set of variations written on the melody heard in the Youtube video Nyan Cat. It is an experiment, in which I tried to find the limits of how far I could transform the melody before it begins losing its identity. The theme is known as Nyanyanyanyanyanyanya!, originally posted by username daniwellP on the Japanese video sharing website, Nico Nico Douga. The Nyan Cat phenomenom has become ingrained in popular culture, and amazes me both in its sheer absurdity and its freakishly colossal popularity. However, fascinating as they are to me, the origins of the theme are not played upon in this composition. Instead, I treated Nyanyanyanyanyanyanya! as pure musical material from which to generate music. The motivation to use this theme came from my repeated viewings of the video, and slowly realizing that it is a strangely alluring melody. Therefore, this is my tribute to Nyan Cat. Credit goes to daniwell-p for creating this theme, prguitarman for creating the gif animation, and saraj00n for joining them. Theme used for non-commercial purposes as per daniwell-P's request.
On a large scale, the work is structured along a simple alternation pattern. The theme and its variations alternate, similarly to rondo form. However, the theme is progressively dissolved, meaning that each time it returns it contains less percentage of the source material. This chipping-away continues until there's nothing recognizable left. In the variation episodes, more tools are employed to change the essence of the theme, especially, pronounced changes of duration, texture, harmonic character, and of the intervallic makeup of the melody. Each of the variations has its own defined character, and they contrast sharply with one another in mood and technique. Despite of the contrast of its sections, the piece exploits a long-scale narrative arc, playing on the contrast between the theme's duration - which remains essentially consistent at each iteration - and the durations of the variation episodes, which seem to grow out of control as their proportions become subverted.
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