groupmeeting

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Matchmaking

Coming in October:

There’s not much info on the webpage due to a hack, but it will feature the first Nordic Electroboutique which you can check out  here.

Why I missed the first group meting

http://www.imoca.ie/refunct09.php

/mattias

Field: Open source digital art environment……

The technical frontier of digital art is no longer what computers can do, but how we get them to do it.

Field is a development environment for experimental code and digital art in the broadest of possible senses. While there are a great many development environments and digital art tools out there today, this one has been constructed with two key principles in mind:

• Embrace and extend — rather than make a personal, private and pristine code utopia, Field tries to bridge to as many libraries, programming languages, and ways of doing things as possible. The world doesn’t necessarily need another programming language or serial port library, nor do we have to pick and choose between data-flow systems, graphical user interfaces or purely textual programming — we can have it all in the right environment and we can both leverage the work of others and take control of our own tools and methods.

• Live code makes anything possible — Field tries to replace as many “features” with editable code as it can. Its programming language of choice is Python — a world class, highly respected and incredibly flexible language. As such, Field is intensely customizable, with the glue between interface objects and data modifiable inside Field itself. Field takes seriously the idea that its user — you — are a programmer / artist doing serious work and that you should be able to reconfigure your tools to suit your domain and style as closely as possible.

http://openendedgroup.com/field/wiki/OverviewBanners2

/Mattias

Acoustics of art museums

some keywords:

John Kannenberg

Art museums

Acoustics

And a link:

http://www.stasisfield.com/releases/year06/sf-6001.html

 

 

/mattias

“You will be assimilated”

A review of “adaptation now” Linda Soh Trengereid Galley Fisk

In several Star Trek episodes and movies Captain Jean luc Picard and the crew of U.S.S Enterprise is faced of against the BORG, an alien cybernetic race witch main purpose is to assimilate and incorporate everything in their way as a part of the Borg collective.

This might seem like a far fetched reference, but I see many parallels to  the paintings Linda is presenting at fisk , young korean girls that have been assimilated to Norwegian culture, dressed in traditional Bunad for the conformation of there Christian beliefs.
And to top that of they have been equipped with moose horns.
Although the assimilation to Norwegian culture hopefully have been less violent then the methods of the Borg Im sure that its not entirely painless.
Placing moose horns on Korean girls in Bunad gives us a comical approach and insight to a very personal experience of being adopted.
Growing up in a small town in sweden with a friend that was adopted, I often encountered the, and was partly on the receiving end of small town racism.
 My friend  and his sister both adopted from south america handled there adoptions  very differently, 
He showed no interest what so ever to find out where he came from or who his biological parents where, while his sister struggled a lot with issues of identity and belonging.
Some of these issues can possibly be read not in the very well executed portraits them self but in the borders around the paintings, where typical Korean and Norwegian patterns are either perfectly inter weaved or crash, not violently  (at least not in my eyes), but I wonder how someone more familiar with either of the traditions would read it.
I also wonder if these patterns tell a more personal story about the girls in the portraits and how they have experienced the assimilation.
 She also lets the cultures clash in a more subtile way by placing a white silhouette cut out of a young moose in front of a black Seoul city scape painted directly on the wall, turning things around, but also seems to be saying ” yes its a crash but look how beautiful it works together”. And that Is actually something I would like to say about the whole exhibition.The paintings are technically very well executed and the “flower lights” hanging from the ceiling ties the room together making it in to a spatial installation more than an exhibition of paintings.

 

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Theory in praxis

I think most of you are aware of the Electromagnetic Fountain project I’m working on, and I would like to share some thoughts on this with you. The fountains water jets and lights are to be controlled by the properties of the digitized sound that is emitted from its electromagnetic detectors. The sounds are erratic; they scream, pop and rush. Some of them are regular, and pulse-like, such as those emitted from wireless networks. Some have a pattern of sorts (mobile phone transmission and reception). These are digital transmissions. Analog transmissions and leakages from street lights, etc, occur more like waves than pulses – but can break up into crackles, and they can howl and scream. How can I address these sounds, encompassing both the experience of them (phenomenological) and an analysis of them? There are 3 stages that I have identified for my approach:

1. Listening to the detectors, and identifying:
- how they make me feel
- the source of the signals (mobile phone, electrical leakage, etc) and where its coming from (cell phone tower, street light, etc)

2. Without thinking about the above, giving the sounds phenomenological descriptors (light/heavy/soft/hard/bright/dark/sharp ….)

3. Searching for what kinds of sound analysis (spectra, sound envelope, frequency, amplitude, etc) I should use as source for controlling the 2 pumps (analog) 5 water valves (digital) and 8 rgb, colour changing led lights.

4. Putting theory into practice by trying different strategies out on the fountain, and sensing the results. In other words, returning to the start of the equation, which is me, and asking how does this make me feel!

To be able to carry out points 2 and 3, I am delving in to the realms of theory related to sound phenomenology, analysis and organisation. I am reading the following publications to help me sort out my thoughts, and to be able to communicate my ideas to sound people who may be able to assist me:

Understanding the Art of Sound, Leigh Landy, The MIT press, ISBN 2007. 978-0-262-12292-4

The Sounding Object, Phenomenology of Sound Events, Report version: 1.0, 2001, Project co-ordinator, University of Verona.

More BIG machines!!!!

Here is a really nice and very hands on demo of the differance betwen CPU and GPU graphics rendering ( I know Geek stuff) but its also one mighty impresive machine!!!!!!

Things I like!!

A couple of links to sites and projects that I like and use regularly:

http://createdigitalmotion.com/

http://createdigitalmusic.com/

http://www.cycling74.com/

http://www.ruccas.org/

http://www.oswalt.de/en/text/txt/xenakis.html

http://expandedcinema.blogspot.com/

http://hcgilje.wordpress.com/

http://www.simonsound.co.uk

http://billvorn.concordia.ca/

http://retnull.com/

http://www.electrohype.org/sve.html

Correction of my statement about the Z machine

I was slightly wrong about the Z machine that Anja was talking about in her presentation, it is actually a fusion accelerator and not a particle accelerator as I stated.

It produces huge (ridiculously huge to be honest) amounts of power and heat by not only accelerating particles but also having them collide with “targets”.

And its located in the U.S.

just to keep the facts straight : )

http://www.sandia.gov/media/z290.htm

/mattias