April 16, 2011

2067 is a net.art work which allows an email to become a time-capsule delivered at a chosen point in the future. The work:

focuses on its consequences : waiting, memory and correspondence but also on the aspect of relativity of our conscience towards time and Others.

It proposes an exploration of the web as a:

working model in process of our univers [sic] in which space, time and memory, as well as the dynamical process of evolution proper to any organism are forming all together a complex system of relations, that is, in fine something one could call an « intelligence ». This very special intelligence might be different from ours regarding to its capacity of organizing its time on a dynamical and parallels ways instead of a chronological one. Plunging into the entrails of an abstract form that possesses our secrets, our desires as well as our relations to the others and therefore is the more acute and useful witness of our social evolution might then be a way – de facto – of plunging into the unknown of our consciousness. We can therefore ask ourselves whether this intelligence would not be able to give us some clues regarding the fundamental questions of human being as a child building his identity reflects ours. The fact of playing with time and correspondence by sending a message in the future is a way of beginning some sort of correspondence in which desire and waiting will play their part and even may be the anguish of an Unknown out of ourselves and therefore out of control.

Via Frédérique Santune.

Posted by: Garrett @ 7:10 pm
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July 8, 2010
Delay and degradation within networked digital forms

This started out as two separate posts on separate works which were going to be posted in sequence however when a third work came through a mailing list that had similar ideas underpinning it I decided to group the three together into one long post. What follows is a few ideas I’ve been thinking about myself recently (albeit in a completely different context) and how these works explore essentially the same.

I Am Sitting in a Video Room (images above) by Patrick Liddell is by way of reference to Alvin Luciers work I Am Sitting in a Room an exploration of the form and space of YouTube as a means, site and context for the creation of performance work (and of course it’s video documentation). The work investigates:

the ‘photocopy effect’, where upon repeated copies the object begin to accumulate the idiosyncrasies of the medium doing the copying.

The performance of was stretched out over the exact period of a year from May 27th, 2009 to May 27th, 2010 and each upload and download was performed manually. The videos embedded below are the first, the original, and the 1000th version. All 1000 videos can be viewed on Patricks YouTube page although disappointingly the account is not dedicated to this project alone.

Netrooms: The Long Feedback (image above) is an participative network audio performance by Pedro Rebelo and distant global collaborators contributing to an extended feedback loop and delay line across the internet.

The work explores the juxtaposition of multiple spaces as the acoustic, the social and the personal environment becomes permanently networked. The performance consists of live manipulation of multiple real-time streams from different locations which receive a common sound source. Netrooms celebrates the private acoustic environment as defined by the space between one audio input (microphone) and output (loudspeaker). The performance of the piece consists of live mixing a feedback loop with the signals from each stream.

Always a sucker for a diagram, the image below details the technical set up for Netrooms: The Long Feedback.

Infinite Stream Loop (image below), part of the Laps series by Art of Failure (I’ve previously posted on AV Permutations) is a very recent work which explores the effects of an audio stream traveling through the world wide web since the 1st of July 2010.

A sound is streamed by a server and goes through several locations on the web. Captured at the end of a loop, the sound is played and then resent out through the web with no additional modification. We have modified the streaming tools to keep all the distortions of the original material that occurred during the process (artefacts, transmission errors, missing data…). To emphasize the changes caused by the network, the sound used at startup is deliberately very simple – a digital silence. Then it evolves endlessly.

The above works (particularly the sound works) bear some similarity to the research of Chris Chafe from Stanford University concerning sound, distance and delay. Chris presented his research in progress at Subtle Technologies in 2009 and subsequently published a paper in Contemporary Music Review, Volume 28 Issue 4 & 5 (the same issue as a paper by Pedro Rebelo) entitled Tapping into the Internet as an Acoustical/Musical Medium.

Why do I group these works together? Each is different in form and presentation, i.e. one video work, two audio; one documentation of an extended performance, one a live performance and the last a generative work etc. yet the three works use what would normally be considered negative effects of the network in creative ways. Delay and degradation of quality as a result of coping becomes an exploitable feature of the network. Copied forms can be combined, sequenced, superimposed, layered to create a new composition yet the coping process, what should in a digital environment be flawless often contains “artefacts, transmission errors, missing data….”. The technically undesirable becomes desirable to the artist enabling a unique aesthetic.

Copying, originality and reproduction, layering and what is ‘real’ have been something I’ve been working on for the last few months within Second Life. My premise is somewhat different from the above works i.e. reproductive degradation as an aesthetic, instead I’ve been thinking and working on how digital forms simulate ‘real’ forms (and the issues therein i.e. levels of precision), how copies relate back to originals, what the differences are and how to collapse and merge these. These are still on going thoughts…

I Am Sitting in a Video Room originally seen on Mashable.com, Netrooms: The Long Feedback originally seen on Pedro Rebelo’s weblog and Infinite Stream Loop originally seen on the Spectre mailing list.

Posted by: Garrett @ 7:37 pm
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April 20, 2010

Delta (image above, video below) by Yousuke Fuyama is a software sketch for generating triangles and sounds in realtime. Beyond that I know nothing, is it for a performance or an installation? What this is made in? It might be Max/MSP or Processing using OpenCV but it could also be a number of other things (Puredata, OpenFrameWorks etc.). Yes sure I’ve seen Reactable and it’s countless imitations but nothing I’ve seen sounds as good as this.

Posted by: Garrett @ 1:37 pm
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January 10, 2010
Transition Soundings

Transition Soundings (image above, video below) by David Birchfield, David Lorig, Kelly Phillips and Assegid Kidané is an interactive public sound art sculpture located at a bus stop in Tempe, Arizona, America. The installations structure:

has the appearance of a large transit map with hubs and paths connecting locations across its surface. However, this stylize ‘map’ is actually a large network of sensors and speakers that trace paths in sound across the surface of the wall. As users move and gesture infront of the piece, a network of proximity sensors initiates sonic events that wash across the surface in a fashion that references ripples across the surface of water. Sound events propagate through the network in a way that mimics movement of traffic, ideas, currents, and connections in the networks of our lives.

Conceptually the work employs:

the idea of the transit network as a metaphorical and practical sonic force. Topographically, the visual arrangement of speaker placement simulates a transit map that moves from a dense urban arrangement on the left, toward a widely spaced arrangement on the right. As sound moves across the wall, we have modelled the notion that transit paths will evolve and perhaps grow more sluggish with use. Thus, sound travels differently through each node of the network over time. This use of the network as a musical and visual presence, is intended to more broadly reference to role of networks in our lives. Transit networks physically link our communities, but networks of social, intellectual, and cultural conncection span our world as well.

Originally seen at vvork.

Posted by: Garrett @ 11:15 pm
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September 25, 2009
After The Net (2.0)

Tonight as part of After The Net a series of events taking place across three countries, After The Net (2.0) the second in the series in Plymouth will host a performance by Aymeric Mansoux.

The exhibition part of this event is already up and running since the 12th of September and will run until the 23rd of October however the lecture on the 22nd of October Transiting the Net by Professor Roy Ascott will without a doubt be the highlight of this iteration. The following is a quote from the After The Net site about the lecture:

Cybernetics and behaviour, mind and technology, connectivity and syncretism, chance and change, constitute the parameters of practice of Roy Ascott, whose talk will chart his passage through the Net, from analogue to digital and beyond. Ascott has exhibited widely, from Venice Biennale to Ars Electronica, is published in at least twelve languages, and recognised internationally as an innovator and visionary. He is president of the Planetary Collegium at University of Plymouth.

I’m hoping to be able to attend this so will post an entry here after the event.

Event originally seen on the GOTO10 mailinglist.

Posted by: Garrett @ 7:18 pm
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