Lucas Cornelis van Scheppingen, better known under his stage name Laidback Luke, is a Dutch-Filipino DJ and music producer from Hoofddorp, North Holland. Born in Manila, Philippines, he is a martial artist. He notably remixed the Robin S. song, "Show Me Love" which charted at #11 on the UK charts in 2009. Van Scheppingen was born to a Dutch father and Filipina mother, Lucy Baruelo in Manila and grew up in Hoofddorp, Netherlands together with his younger brother, Asley, he has passion for music, together with his musician cousins in the Philippines, John Mark and Jed. He has worked with artists such as David Guetta, Steve Angello, the percussionist Nebat Drums, Sebastian Ingrosso, Axwell and Junior Sanchez and played throughout Europe and North America as well as shows in Japan and Ibiza, he has released three studio albums: Psyched Up, Electronic Satisfaction, Cream Ibiza Super You & Me as well as a mix album, Windmill Skill. In 2003, van Scheppingen did a remix of the Daft Punk song "Crescendolls" for the duo's remix album Daft Club.
Luke has released his own mix album, titled Ibiza Closing Party, as a free covermount CD in the October 2008 issue of Mixmag. In 2012, Laidback Luke was nominated for the best European DJ award from the 27th Dance Music Awards. Luke was one half of a musical side project with Gina Turner, he appeared in the 2016 Grammy-nominated documentary film about American DJ and producer Steve Aoki, titled I'll Sleep When I'm Dead. After a first marriage, he announced on the maiden voyage of Holy Ship! that he was engaged to American DJ Gina Turner and they married on October 1, 2012, at The View, New York. In 2014, their daughter Evalina was born. In 2017, he announced his separation from Turner. Laidback Luke practices kung fu Choy Li Fut, represented the Netherlands at the World Championship 2013 in China. In March 2018, he was featured on the cover of Men’s Health NL, talked about his kung fu career. Electronic Satisfaction Focus Official website
The Penrose stairs or Penrose steps dubbed the impossible staircase, is an impossible object created by Lionel Penrose and his son Roger Penrose. A variation on the Penrose triangle, it is a two-dimensional depiction of a staircase in which the stairs make four 90-degree turns as they ascend or descend yet form a continuous loop, so that a person could climb them forever and never get any higher; this is impossible in three dimensions. The "continuous staircase" was first presented in an article that the Penroses wrote in 1959, based on the so-called "triangle of Penrose" published by Roger Penrose in the British Journal of Psychology in 1958. M. C. Escher discovered the Penrose stairs in the following year and made his now famous lithograph Klimmen en dalen in March 1960. Penrose and Escher were informed of each other's work that same year. Escher developed the theme further in his print Waterval, which appeared in 1961. In their original article the Penroses noted that "each part of the structure is acceptable as representing a flight of steps but the connexions are such that the picture, as a whole, is inconsistent: the steps continually descend in a clockwise direction."
Escher, in the 1950s, was not aware of their existence. Roger Penrose had been introduced to Escher's work at the International Congress of Mathematicians in Amsterdam in 1954, he was "absolutely spellbound" by Escher's work, on his journey back to England he decided to produce something "impossible" on his own. After experimenting with various designs of bars overlying each other he arrived at the impossible triangle. Roger showed his drawings to his father, who produced several variants, including the impossible flight of stairs, they did not know in what field the subject belonged. Because Lionel Penrose knew the editor of the British Journal of Psychology and convinced him to publish their short manuscript, the finding was presented as a psychological subject. After the publication in 1958 the Penroses sent a copy of the article to Escher as a token of their esteem. While the Penroses credited Escher in their article, Escher noted in a letter to his son in January 1960 that he was: working on the design of a new picture, which featured a flight of stairs which only ascended or descended, depending on how you saw it.
Form a closed, circular construction, rather like a snake biting its own tail. And yet they can be drawn in correct perspective: each step higher than the previous one. I discovered the principle in an article, sent to me, in which I myself was named as the maker of various'impossible objects', but I was not familiar with the continuous steps of which the author had included a clear, if perfunctory, although I was employing some of his other examples. Escher was captivated by the endless stairs and subsequently wrote a letter to the Penroses in April 1960: A few months ago, a friend of mine sent me a photocopy of your article... Your figures 3 and 4, the'continuous flight of steps', were new to me, I was so taken by the idea that they inspired me to produce a new picture, which I would like to send to you as a token of my esteem. Should you have published other articles on impossible objects or related topics, or should you know of any such articles, I would be most grateful if you could send me further details.
At an Escher conference in Rome in 1985, Roger Penrose said that he had been inspired by Escher's work when he and his father discovered both the Penrose tribar structure and the continuous steps. The staircase design had been discovered by the Swedish artist Oscar Reutersvärd, but neither Penrose nor Escher was aware of his designs. Inspired by a radio programme on Mozart's method of composition—described as "creative automatism", i.e. each creative idea written down inspired a new idea—Reutersvärd started to draw a series of impossible objects on a journey from Stockholm to Paris in 1950 in the same "unconscious, automatic" way. He did not realize that his figure was a continuous flight of stairs while drawing, but the process enabled him to trace his complex designs step by step; when M. C. Escher's Ascending and Descending was sent to Reutersvärd in 1961, he was impressed but didn't like the irregularities of the stairs. Throughout the 1960s, Reutersvärd sent several letters to Escher to express his admiration for his work, but the Dutch artist failed to respond.
Roger Penrose only discovered Reutersvärd's work in 1984. Mathematics and art Shepard tone
Douglas Richard Hofstadter is an American professor of cognitive science whose research focuses on the sense of self in relation to the external world, analogy-making, artistic creation, literary translation, discovery in mathematics and physics. Hofstadter's book Gödel, Bach: An Eternal Golden Braid, first published in 1979, won both the Pulitzer Prize for general non-fiction and a National Book Award for Science, his 2007 book I Am a Strange Loop won the Los Angeles Times Book Prize for Technology. Hofstadter was born in New York City, the son of Nobel Prize-winning physicist Robert Hofstadter and Nancy Givan Hofstadter, he grew up on the campus of Stanford University, where his father was a professor, he attended the International School of Geneva in 1958–1959. He graduated with Distinction in Mathematics from Stanford University in 1965, received his Ph. D. in Physics from the University of Oregon in 1975, where his study of the energy levels of Bloch electrons in a magnetic field led to his discovery of the fractal known as the Hofstadter butterfly.
Since 1988, Hofstadter has been the College of Arts and Sciences Distinguished Professor of Cognitive Science and Comparative Literature at Indiana University in Bloomington, where he directs the Center for Research on Concepts and Cognition which consists of himself and his graduate students, forming the "Fluid Analogies Research Group". He was appointed to the Indiana University's Computer Science Department faculty in 1977, at that time he launched his research program in computer modeling of mental processes. In 1984, he moved to the University of Michigan in Ann Arbor, where he was hired as a professor of psychology and was appointed to the Walgreen Chair for the Study of Human Understanding. In 1988 he returned to Bloomington as "College of Arts and Sciences Professor" in both cognitive science and computer science, he was appointed adjunct professor of history and philosophy of science, comparative literature, psychology, but has said that his involvement with most of those departments is nominal.
In 1988 Hofstadter received the In Praise of Reason award, the Committee for Skeptical Inquiry's highest honor. In April 2009 he was elected a Fellow of the American Academy of Arts and Sciences and a member of the American Philosophical Society. In 2010 he was elected a member of the Royal Society of Sciences in Sweden. Hofstadter's many interests include music, visual art, the mind, consciousness, self-reference and mathematics. At the University of Michigan and Indiana University, he co-authored, with Melanie Mitchell, a computational model of "high-level perception" – Copycat – and several other models of analogy-making and cognition, including the Tabletop project, co-developed with Robert M. French. Hofstadter's doctoral student James Marshall subsequently extended the Copycat project under the name "Metacat"; the Letter Spirit project, implemented by Gary McGraw and John Rehling, aims to model the act of artistic creativity by designing stylistically uniform "gridfonts". Other more recent models include Phaeaco and SeqSee, which model high-level perception and analogy-making in the microdomains of Bongard problems and number sequences as well as George, which models the processes of perception and discovery in triangle geometry.
The pursuit of beauty has driven Hofstadter both outside his professional work. He seeks beautiful mathematical patterns, beautiful explanations, beautiful typefaces, beautiful sonic patterns in poetry, etc. Hofstadter has said of himself, "I'm someone who has one foot in the world of humanities and arts, the other foot in the world of science." He has had several exhibitions of his artworks in various university art galleries. These shows have featured large collections of his gridfonts, his ambigrams, his "Whirly Art". Hofstadter collects and studies cognitive errors, "bon mots", analogies of all sorts, his long-time observation of these diverse products of cognition, his theories about the mechanisms that underlie them, have exerted a powerful influence on the architectures of the computational models developed by himself and FARG members. All FARG computational models share certain key principles, including: that human thinking is carried out by thousands of independent small actions in parallel, biased by the concepts that are activated that activation spreads from activated concepts to less activated "neighbor concepts" that there is a "mental temperature" that regulates the degree of randomness in the parallel activity that promising avenues tend to be explored more than unpromising onesFARG models have an overarching philosophy that all cognition is built from the making of analogies.
The computational architectures that share these precepts are called "active symbols" architectures. Hofstadter's thesis about consciousness, first expressed in Gödel, Bach but also
The Deep Note is THX's audio trademark, a distinctive synthesized crescendo that glissandos from a narrow frequency spread to a broader frequency spread. It was created by Dr. James A. Moorer, a former employee of Lucasfilm's Computer Division in late 1982; the sound is used on trailers for THX-certified movie theaters, home video, video games, car infotainment systems. The Deep Note debuted at the premiere of Return of the Jedi in Los Angeles. Since it has gone on to become a pop culture icon; the U. S. trademark registration for the first version of the sound contains this description of it: The THX logo theme consists of 30 voices over seven measures, starting in a narrow range, 200 to 400 Hz, diverting to preselected pitches encompassing three octaves. The 30 voices begin at pitches between 200 Hz and 400 Hz and arrive at pre-selected pitches spanning three octaves by the fourth measure; the highest pitch is detuned while there are double the number of voices of the lowest two pitches. The first version of the Deep Note made its debut before the second THX trailer, that preceded the premiere showing of Return of the Jedi.
Two different interpretations of the note ran concurrently with the 1983 version in both the Grand trailer and the mid-90s reorchestration of the Cimarron trailer. The Deep Note transitioned from a soft to loud intensity, over the years has been remixed digitally, as new technology developed. In 1993, the Deep Note was cut short and pitched higher, to save time for Laserdisc and again in 1995 for VHS. On July 3, 1996, with the debut of Tex in the theatrical premiere of Independence Day, the Deep Note was low-pitched and cut short, different than other versions, it was used in the DVD version of the digitally mastered variant of the iconic Broadway trailer in 1997 later with both the Ziegfeld and Tex Action trailers in 2006. In 2007, for the Amazing Life trailer, the Deep Note had been cut short to the single note, in favor of other sound effects. However, in the last two trailers to use the 1983 note, both based on the famous Broadway trailer, the sound was played in full; the sound is perceived as louder than it is.
This may or may not be true, but it sounds cool!"Although Moorer had claimed that the score consisted of about 20,000 lines of code, he subsequently corrected the statement and elaborated: The original 30-year-old C program is 325 lines, the “patch” file for the synthesizer was 298 more lines. I guess. Given that it was written and debugged in 4 days, I can’t claim the programming chops to make 20,000 lines of working code that quickly. But, to synthesize it in real time, in 1983, took 2 years to design and build a 19” rack full of digital hardware and 200,000 lines of system code to run the synthesizer. All, done, so I was building on a large foundation of audio processing horsepower, both hardware and software. A mere 325 lines of C code and 298 lines of audio patching setup for the 30 voices was enough to invoke the audio horsepower to make the piece. In April 2015, THX introduced a brand-new trailer named Eclipse, accompanied by an updated, more powerful version of the Deep Note created by Moorer.
It is described as being "intensely more complex, taking the audience on an epic sensory journey unlike anything they've experienced before." This version of the Deep Note was created digitally so it could play on Dolby Digital 7.1 and Dolby Atmos systems, Moorer created 30-second, 45-second and 60-second versions of it. Moorer used around eighty voices as opposed to thirty in the original 1982 version. In an interview with Yahoo, Moorer said "I kept thinking: That’s the way I wanted it to sound originally. I think it’s as far as you can take it." Prior to the creation of the Deep Note, several other works made use of similar techniques of frequency spread. A recognized predecessor is a section in the Beatles' 1967 song "A Day in the Life", using a full orchestra. Unlike in the Deep Note, the resolving high chord is never held, but instead brought to a stop. Moorer has admitted that both "A Day in the Life" and a fugue in B minor by Bach were sources of inspiration for the Deep Note. In their book Analog Days, Trevor Pinch and Frank Trocco say that the track "Spaced", from the 1970 Beaver & Krause album In a Wild Sanctuary, was "copied by a famous Marin County film company" to introduce its film presentations, although they do not identify the company.
The authors quote synthesizer builder Tom Oberheim as saying that the original analog form is much richer than the "digital perfection" evident in the sound logo so familiar to cinema-goers. Yellow Magic Orchestra's 1981 track "Loom" begins with an upward slow glissando to crescendo, resembling the Deep Note. A similar sound appeared in Yellow Magic Orchestra member Haruomi Hosono's 1978 album Cochin Moon. For its 35th anniversary, THX Ltd. released an image of the original 30-voice score, with notes, on their official Facebook page. The perceived loudness of the Deep Note is depicted as having actual destructive effects: The 1992 direct-to-video film Tiny Toon Adventures: How I Spent My Vacation shows a Deep Note–like trailer quite blowing the audience away, sending many people flying and wr
The tritone paradox is an auditory illusion in which a sequentially played pair of Shepard tones separated by an interval of a tritone, or half octave, is heard as ascending by some people and as descending by others. Different populations tend to favor one of a limited set of different spots around the chromatic circle as central to the set of "higher" tones. Roger Shepard in 1963 had argued that such tone pairs would be heard ambiguously as either ascending or descending. However, psychology of music researcher Diana Deutsch in 1986 discovered that when the judgments of individual listeners were considered separately, their judgments depended on the positions of the tones along the chromatic circle. For example, one listener would hear the tone pair C–F♯ as ascending and the tone pair G–C♯ as descending, yet another listener would hear the tone pair C–F♯ as descending and the tone pair G–C♯ as ascending. Furthermore, the way these tone pairs were perceived varied depending on the listener's language or dialect.
Each Shepard tone consists of a set of octave-related sinusoids, whose amplitudes are scaled by a fixed bell-shaped spectral envelope based on a log frequency scale. For example, one tone might consist of a sinusoid at 440 Hz, accompanied by sinusoid at the higher octaves and lower octaves; the other tone might consist of a 311 Hz sinusoid, again accompanied by lower octaves. The amplitudes of the sinusoids of both complexes are determined by the same fixed-amplitude envelope—for example, the envelope might be centered at 370 Hz and span a six-octave range. Shepard predicted that the two tones would constitute a bistable figure, the auditory equivalent of the Necker cube, that could be heard ascending or descending, but never both at the same time. Diana Deutsch found that perception of which tone was higher depended on the absolute frequencies involved: an individual will find the same tone to be higher, this is determined by the tones' absolute pitches; this is done by a large portion of the population, despite the fact that responding to different tones in different ways must involve the ability to hear absolute pitch, thought to be rare.
This finding has been used to argue that latent absolute-pitch ability is present in a large proportion of the population. In addition, Deutsch found that subjects from the south of England and from California resolved the ambiguity the opposite way. Deutsch and Dolson found that native speakers of Vietnamese, a tonal language, heard the tritone paradox differently from Californians who were native speakers of English. Barberpole illusion Flanging Missing fundamental Deutsch, D.. "A musical paradox". Music Perception. 3: 275–280. Doi:10.2307/40285337. JSTOR 40285337. Weblink PDF Document Deutsch, D.. "An auditory paradox". Journal of the Acoustical Society of America. 80: s93. Doi:10.1121/1.2024050. Weblink Deutsch, D.. "The tritone paradox: Effects of spectral variables". Perception & Psychophysics. 41: 563–575. Doi:10.3758/BF03210490. PMID 3615152. PDF Document Deutsch, D. North, T. and Ray, L.. "The tritone paradox: Correlate with the listener's vocal range for speech". Music Perception. 7: 371–384. Doi:10.2307/40285473.
JSTOR 40285473. CS1 maint: Multiple names: authors list PDF Document Deutsch, D.. "The tritone paradox: An influence of language on music perception". Music Perception. 8: 335–347. Doi:10.2307/40285517. JSTOR 40285517. PDF Document Deutsch, D.. "Paradoxes of musical pitch". Scientific American. 267: 88–95. Doi:10.1038/scientificamerican0892-88. PMID 1641627. PDF Document Deutsch, D.. "Some new pitch their implications. In Auditory Processing of Complex Sounds". Philosophical Transactions of the Royal Society B. 336: 391–397. Doi:10.1098/rstb.1992.0073. PMID 1354379. PDF Document Deutsch, D.. "The tritone paradox: A link between music and speech". Current Directions in Psychological Science. 6: 174–180. Doi:10.1111/1467-8721.ep10772951. PDF Document Deutsch, D. Henthorn T. and Dolson, M.. "Speech patterns heard early in life influence perception of the tritone paradox". Music Perception. 21: 357–372. Doi:10.1525/mp.2004.21.3.357. CS1 maint: Multiple names: authors list PDF Document Deutsch, D.. "Mothers and their offspring perceive the tritone paradox in similar ways".
Archives of Acoustics. 32: 3–14. PDF Document Audio example Diana Deutsch's page on auditory illusions Sound example of the tritone paradox
The superposition principle known as superposition property, states that, for all linear systems, the net response caused by two or more stimuli is the sum of the responses that would have been caused by each stimulus individually. So that if input A produces response X and input B produces response Y input produces response. A function F that satisfies the superposition principle is called a linear function. Superposition can be defined by two simpler properties; this principle has many applications in physics and engineering because many physical systems can be modeled as linear systems. For example, a beam can be modeled as a linear system where the input stimulus is the load on the beam and the output response is the deflection of the beam; the importance of linear systems is. Because physical systems are only linear, the superposition principle is only an approximation of the true physical behaviour; the superposition principle applies to any linear system, including algebraic equations, linear differential equations, systems of equations of those forms.
The stimuli and responses could be numbers, vectors, vector fields, time-varying signals, or any other object that satisfies certain axioms. Note that when vectors or vector fields are involved, a superposition is interpreted as a vector sum. By writing a general stimulus as the superposition of stimuli of a specific, simple form the response becomes easier to compute. For example, in Fourier analysis, the stimulus is written as the superposition of infinitely many sinusoids. Due to the superposition principle, each of these sinusoids can be analyzed separately, its individual response can be computed. According to the superposition principle, the response to the original stimulus is the sum of all the individual sinusoidal responses; as another common example, in Green's function analysis, the stimulus is written as the superposition of infinitely many impulse functions, the response is a superposition of impulse responses. Fourier analysis is common for waves. For example, in electromagnetic theory, ordinary light is described as a superposition of plane waves.
As long as the superposition principle holds, the behavior of any light wave can be understood as a superposition of the behavior of these simpler plane waves. Waves are described by variations in some parameter through space and time—for example, height in a water wave, pressure in a sound wave, or the electromagnetic field in a light wave; the value of this parameter is called the amplitude of the wave, the wave itself is a function specifying the amplitude at each point. In any system with waves, the waveform at a given time is a function of the sources and initial conditions of the system. In many cases, the equation describing the wave is linear; when this is true, the superposition principle can be applied. That means that the net amplitude caused by two or more waves traversing the same space is the sum of the amplitudes that would have been produced by the individual waves separately. For example, two waves traveling towards each other will pass right through each other without any distortion on the other side.
With regard to wave superposition, Richard Feynman wrote: No-one has been able to define the difference between interference and diffraction satisfactorily. It is just a question of usage, there is no specific, important physical difference between them; the best we can do is speaking, is to say that when there are only a few sources, say two, interfering the result is called interference, but if there is a large number of them, it seems that the word diffraction is more used. Other authors elaborate: The difference is one of convenience and convention. If the waves to be superposed originate from a few coherent sources, two, the effect is called interference. On the other hand, if the waves to be superposed originate by subdividing a wavefront into infinitesimal coherent wavelets, the effect is called diffraction; that is the difference between the two phenomena is of degree only, they are two limiting cases of superposition effects. Yet another source concurs: Inasmuch as the interference fringes observed by Young were the diffraction pattern of the double slit, this chapter is therefore a continuation of Chapter 8.
On the other hand, few opticians would regard the Michelson interferometer as an example of diffraction. Some of the important categories of diffraction relate to the interference that accompanies division of the wavefront, so Feynman's observation to
Swedish House Mafia
Swedish House Mafia is a Swedish house music supergroup consisting of Axwell, Steve Angello and Sebastian Ingrosso. The group formed in late 2008, were placed at number ten on the DJ Mag Top 100 DJ Poll 2011 and have been called "the faces of mainstream progressive house music." In 2012, they were ranked at number twelve on the DJ Mag Top 100 Poll. On June 24, 2012 the group announced, their final performance was at Ultra Miami on March 24, 2013. For the next five years Angello worked solo, while Ingrosso performed as a duo. On March 25, 2018, the group reunited with a surprise closing set at the 20th Anniversary of Ultra Music Festival in Miami, 2018. Before Swedish House Mafia, Steve Angello, Sebastian Ingrosso performed as solo DJs in the late 1990s and early 2000s. Angello and Ingrosso knew each other as children growing up in Stockholm, would collaborate under various aliases in their early careers. Collaborations with Axwell came in the decade as the pair discovered the Swedish DJ by a chance meeting.
Towards the mid 2000s Axwell and Ingrosso found themselves playing shows together, with fellow Swedish DJ Eric Prydz joining them for some shows. The name Swedish House Mafia came about after friends and fans began labelling the four as they played more and more shows together with the four being first referred to as "Swedish House Mafia" in March 2007 by the Winter Music Conference; the group adopted the name in late 2008, with Prydz deciding not to join the group, describing himself as a "control freak" in the studio who can't abide collaboration with close friends. Prydz announced he would be leaving the group, soon after the collective formed, in November 2008; the first production, released by the group was "Get Dumb", produced with Laidback Luke and released in 2007. In 2009, Swedish House Mafia teamed up with Laidback Luke again to produce the track "Leave the World Behind" which featured vocals by Deborah Cox. Although none of these songs were released under the name Swedish House Mafia, the latter would feature on the group's first compilation album Until One.
In 2010, Swedish House Mafia signed a record deal with UMG's Polydor Records after a falling-out with previous record label EMI, due to differing ideas. They released "One", their first official single under the name Swedish House Mafia, on Beatport on May 2, 2010, where it achieved international success, charting at number 7 in the UK Singles Chart; the group followed this with an well received vocal version featuring Pharrell Williams, retitled "One". Their next single, "Miami 2 Ibiza", with Tinie Tempah, was released on October 1, 2010, it was featured on Tempah's debut studio album Disc-Overy. Both tracks were taken from the group's debut compilation album Until One, it has achieved a BPI Gold Sales award in the United Kingdom and a GLF Platinum Sales award in Sweden. On November 29, 2010, Swedish House Mafia released; the movie was filmed over the course of 2 years, 253 gigs and 15 countries by Swedish director Christian Larson. He commented on Take One by saying "It's not narrated at all.
It's just sequences of them and it's made into a story. It's all chronological. It's just they become characters in their own film, it all happened pretty because they are all such strong characters, all three of them." The documentary starts with Swedish House Mafia in the studio with Laidback Luke working on "Leave the World Behind" and concludes at Ultra Music Festival in 2010 premiering their hit "One". In May 2011, Swedish House Mafia released a new single, "Save the World", featuring John Martin on vocals, the song was a commercial success and charted at number 10 in the UK Chart and 4 in Sweden; that year on December 16, they released the track "Antidote" with Knife Party and their solo effort "Greyhound" on March 12, 2012. Their final and most commercially successful track "Don't You Worry Child" featuring John Martin, was released on September 14, 2012 becoming number 1 in Australia and the UK as well as becoming a top 10 hit in most other countries; that same month on September 17, the group announced the release of a second compilation album titled Until Now, with the album forming the official soundtrack to their One Last Tour.
It contained the four mentioned singles plus the singles from "Until One" along with songs and remixes from the individual group members and other DJs. The album contained two exclusive Swedish House Mafia remixes, of Coldplay's "Every Teardrop Is a Waterfall", Usher's "Euphoria"; until Now was released on October 22, 2012 two years after the release of their first compilation album Until One. The album charted in the top twentys in various countries across Europe, North America, Oceania including number 3 in Sweden, as well as charting number 1 on both the British and Irish compilation album charts; until Now has since certified Gold in Australia, plus Platinum in both the United Kingdom and Sweden. On June 26, 2012, Swedish House Mafia confirmed they would be playing at the Milton Keynes National Bowl on July 14 along with the likes of Calvin Harris and Example — these artists to be the first to perform in the newly renovated grounds; the trio confirmed that their closing set would be their last UK show as no dates were planned for the UK during the group's One Last Tour.
During their performance, they premiered their new single "Don't You Worry Child" to a 60,000 st