Day 313 @ ITP: Video Sculpture ~ Learning video mapping with MadMapper "It moved!"

I missed the first class sadly for Video Sculpture sadly and will be making up the light sculpture assignment at some point during this course, and am looking forward to doing that. In the second class we reviewed the projects people made in collaborations for the light sculpture assignment, then learned the basics of video mapping using MadMapper. In our third class we practiced video mapping to prepare for our next assignment. I learned that it is important to lock things in place (including the projector!) and all objects that are involved. I grabbed some objects from the junk shelf and practiced mapping simple colors onto them to make them look like they are different colors. My phone was freezing and in the meantime somehow everything got moved, probably the projector when the power went off and I moved it slightly to turn it back on, then there wasn't time to fix it, and realized simple things can suddenly look sloppy if they are not perfectly on the objects, though that could potentially be played with too-- like breaking out of both the rectangle of the projection and of the objects it's locked onto, onto the wall, in the space, reflecting on objects, etc. Otherwise precision is key. It was definitely inspiring just to be able to color 3D objects this way with light, and was also thinking about blending light in this way as well with the projector light. 

 Video mapping on objects, a little "off."

Video mapping on objects, a little "off."

I'm definitely having some ideas for moving some ideas I've been building on off the computer into physical reality(??), or to somewhere in between, and will most likely be expanding upon this for my final for this course, and also will try combining this idea in some ways for my finals for Creative Coding and Ideation and Prototyping at Tandon so that I can maximize my time to work on this color/tones project through all three classes before Aug 10th rolls around and time is up...the goal will be to create combinations of colors/tones that mix with each other and move over time, and will now incorporate video mapping as well for a physical version as well as a web version using Javascript. Not sure yet how many surfaces will be involved or how to install it exactly, especially in a classroom at ITP, but it will be a challenge and I want to use this opportunity to get at least a basic version of this project finished and finessed in order to iterate on it later, and perhaps then will set up in my studio to expand upon during the school year. Really, I just want to experience it.

Day 226 @ ITP: Live Image Processing & Performance

Crystal singing bowl notes ~~~> colors

My friend David measured the Hz of my crystal singing bowls for a project we are working on. So now I have a way to translate them into color, even if it is not through Max but through this website which takes the Hz of the sounds and matches them to the Thz color/frequency in light... I plan to make a chord of a few bowls at once that I would play along to, maybe in in two parts. 5 minutes isn't as long as this piece would be, I think it would be something more like 15 minutes to 20 max...but it will be a study in this idea! It also seems that the relationship is not totally direct; it is somehow translating the frequency of both sound and light into the same thing, though the waves are quite different. However it is some way to make a scientific relationship and I think will be interesting to work with.

49_Octaves_of_Sound_and_Light.jpg
 Converting Sound to Color  The code above converts the frequency of sound to a frequency of light by doubling the sound frenency (going up one octave each time) until it reaches a frequency in the range of 400–800 THz (400,000,000,000,000 – 800,000,000,000,000 Hz).  That frequency is then converted into a wavelength of light, using the formula:  wavelength = speedOfLight / frequency  The speed of light that is used is the observed speed of light in a vacuum (299,792,458 m/sec).  I believe that this is a reasonable approach, even though we are not playing these sounds in a vacuum. The code for rendering colors (see below) is based on this same constant for speed of light; When looking at resonance, I believe that it is really the frequency of the sound and light that we want to match, not the wavelength.   Source

Converting Sound to Color

The code above converts the frequency of sound to a frequency of light by doubling the sound frenency (going up one octave each time) until it reaches a frequency in the range of 400–800 THz (400,000,000,000,000 – 800,000,000,000,000 Hz).

That frequency is then converted into a wavelength of light, using the formula:

wavelength = speedOfLight / frequency

The speed of light that is used is the observed speed of light in a vacuum (299,792,458 m/sec).

I believe that this is a reasonable approach, even though we are not playing these sounds in a vacuum. The code for rendering colors (see below) is based on this same constant for speed of light; When looking at resonance, I believe that it is really the frequency of the sound and light that we want to match, not the wavelength.

Source

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C crystal singing bowl = Blue #0000ff

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D crystal singing bowl = Dark Red #bf0000

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E bowl = 

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F crystal singing bowl = Blue #00dbff

G crystal singing bowl = Purple #540084

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Ab/G# Crystal singing bowl = #bf0000 (same as C ??)

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And second reading... = #ffad00

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B Crystal Singing Bell (handle now broken but can be chimed) = #ffc700

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Result:

It looks like every color of the rainbow is represented! I have yet to measure the newest bowl I got, and can only use the broken bowl I have as a bell (cannot "bowl" it anymore). I will plan to somehow gang them up next to each other and play along with them so that it is synchronized. It will be choreographed vs being triggered by sensors, but I think the idea of this came from thinking about doing it the other way around. More soon... 

 

Day 225 @ ITP: Live Image Processing & Performance

OBJECT THEATER: FINAL PERFORMANCE FOOTAGE!

A multimedia game show with a questionable screening process for entering a rhizomatic non hierarchical way of being w/ Sam H., Erin C. (Nire), and Camilla P-C for Live Image Processing & Performance ITP-NYU Spring 2018

Day 201: Live Image Processing & Performance

Object Theater Performance
Group Presentation : Erin, Sam, Camilla

DIEZOME

Our project is game of chance, based on a traditional game show format such as Wheel Of Fortune. In the game the contestant is being screened to enter a new rhizomatic world where hierarchy does not exist. With each pull of the lever or roll of the die the contestant is introduced to a new facet of the process to get to the rhizome. A hybrid of digital-analog folklore is woven into the dialog of the game, which will make an algorithmic script to guide us to the end (which is a surprise.) 


OUR SOURCES (Myths/folk tales)

Wyrd Sisters or "3 Witches" (Norse) ~  https://en.wikipedia.org/wiki/Wyrd_Sisters
Trojan Horse (Roman) ~ https://en.wikipedia.org/wiki/Trojan_Horse
Mohini (Sri Lankan) ~ 
https://en.wikipedia.org/wiki/Mohini
Maha Sona (Sinhalese) ~ https://en.wikipedia.org/wiki/Maha_Sona
Inanna (Sumerian) ~ 
https://en.wikipedia.org/wiki/Inanna

Day 195 @ ITP: Recurring Concepts in Art

Source: Mirror Lights – Camilla & Jina

Mirror Lights is a two-person performance using light and acoustic sound to create a virtual reality experience.

DESCRIPTION

One person enters a darkened room, sits on a chair and shines a light at a screen suspended in front of them.

A second person shines a light from the other side of the screen, following the first person’s light’s movements, thereby creating the illusion that the first light is guiding the movements of the second.

The first person’s light is attached to a chandelier of bells above their head, which causes it to chime with their movements, creating the soundtrack for the performance.

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Materials: mylar sheets, lights, a found metal structure, wind chimes, chair.

Day 192 @ ITP: Great Heart Project Video

A little belated, here is the video for the project Great Heart, created by Jim Schmitz and myself as a collaboration and presented as a final for our Phys Comp class as well as my ICM class last semester, and was also featured in the Winter Show 2017. We are still planning to take this to an art or performance context some day, to create a more immersive environment using the same concept. In the meantime, this is a shorter and more digestible explanation of what it does!

Day 185 @ ITP: Fungus Among Us

Final Presentation:
"Medicinal Properties of Reishi & An Experiment in Growing and Using Reishi Mushrooms for Immunity"

 Slide 1 

Slide 1 

Slide 2 

Slide 3 

Slide 4

Slide 7

 Slide 13

Slide 13

Download the full PowerPoint presentation PDF here (does not include the Reishi tea, which was poured in class.) 

Links cited:

Video: Health Benefits of Reishi Mushroom
https://www.youtube.com/watch?v=vm33bzTa8u4

Definition: Polysaccharide
https://biologydictionary.net/polysaccharide/

Reishi extract:
https://nyishar.com/reishi-dual-extract/

Reishi supplements:
https://hostdefense.com/collections/daily-wellness/products/reishi-capsules
https://www.amazon.com/Mushroom-Defense-Formula-Medicinal-Mushrooms/ 

https://www.amazon.com/Bulksupplements-Reishi-Mushroom-Extract-Powder/ 
https://www.amazon.com/Nature-Restore-Organic-Mushroom-Non-GMO/ 

Video: Mushroom Powders Vs. Extracts
https://www.youtube.com/watch?v=gzoPoAx9Zuw

Reishi Mushroom Kit that I ordered:

https://www.amazon.com/Reishi-Mushroom-Kit-Growing-Mushrooms/

Reishi Mushroom Tea Recipe:
https://www.mushroom-appreciation.com/mushroom-tea.html

Further research:

http://www.reishi.com/faq.htm
http://www.fungi.com/

During this presentation I also explained that part of my final will be to experiment with growing Reishi mushrooms on my own. I ordered a kit, and plan to start it in May after this semester ends. I also explained how I used to get bronchitis every year my whole life, and that since using mushroom immunity pills (which include a variety of mushrooms as well as Reishi) for maintenance, I haven't gotten bronchitis in 3 years. 

I would like to start regularly using and processing dried whole Reishi mushrooms in tea or tincture form (eventually incorporating in the Reishi that I grow myself) to use every day instead of taking the mushroom immunity pills for daily maintenance. Overall I think it will be cheaper and more sustainable to incorporate into a daily routine. 

Also, a note on our mycelium growing project:

I am continuing to try to spore my mycelium experiment from class, though it appears to be stuck where it was. The spores are not spreading beyond the middle layer of the tupperware container I chose to house it in. I allowed more oxygen in but no further growth has appeared. I was definitely inspired to also make an art object inspired by it but focusing on Reishi seemed to be closer to my heart for this project, and I most likely would not have thought of trying to grow my own if it were not for this class and our experience with growing mycelium.

I think if I had focused on an art object I would have perhaps turned my piece into a plant holder or something practical that could live in my home to remind me of mycelium and its ways. However I think the readings and work in this class has solidified that I will be thinking about mycelium in relation to many things from now on.

Day 182 @ ITP: Fungus Among Us

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Slater, Lauren. "How psychedelic drugs can help patients face death." NY Times (2012).
http://www.nytimes.com/2012/04/22/magazine/how-psychedelic-drugs-can-help-patients-face-death.html

Once the drug took effect, Reamer lay there and rode the music’s dips and peaks. Reamer said that her mind became like a series of rooms, and she could go in and out of these rooms with remarkable ease. In one room there was the grief her father experienced when Reamer got leukemia. In another, her mother’s grief, and in another, her children’s. In yet another room was her father’s perspective on raising her. “I was able to see things through his eyes and through my mother’s eyes and through my children’s eyes; I was able to see what it had been like for them when I was so sick.”

If psilocybin can so reliably induce these life-altering experiences, why have the hundreds of thousands of Americans who have taken magic mushrooms recreationally not had this profound experience? Grob explains that in addition to the carefully controlled setting of these studies and the opportunity to process the experience with the researchers, the subjects are primed for transcendence before they even take the drug. “Unlike the recreational user, we process the experience ahead of time,” Grob says. “We make it very clear up front that the hoped-for outcome is therapeutic, that they’ll have less anxiety, less depression and a greater acceptance of death.” Subjects, in other words, intend to have a transformative experience. Grob says that psilocybin taken in this setting is “existential medicine.”
Perhaps end-stage cancer patients are able to capture enduring benefits of psilocybin precisely because they are processing their drug experiences again and again with research staff and in doing so are changing the way the brain encodes positive memories. The phenomenon might be similar to how other memories work; when we remember something sweet-smelling, the olfactory neurons in our brain start to stir; when we remember running, our motor cortex begins to buzz. If this is the case then merely recalling the trip could resurrect its neural correlates, allowing the person to re-experience the insight, the awareness, the hope.

Griffiths continued: “When you make people less afraid to die, then they’re less likely to cling to life at a huge cost to society. After having such a transcendent experience, individuals with terminal illness often show a markedly reduced fear of dying and no longer feel the need to aggressively pursue every last medical intervention available. Instead they become more interested in the quality of their remaining life as well as the quality of their death.”

In a future still far off, Grob imagines retreat centers where the dying could have psilocybin administered to them by a staff trained for the task. Doblin asks: “Why confine this to just the dying? This powerful intervention could be used with young adults who could then reap the benefits of it much earlier.” The subjects who have undergone psilocybin treatment report an increased appreciation for the time they have left, a deeper awareness of their roles in the cycle of life and an increased motivation to invest their days with meaning. “Imagine allowing young adults, who have their whole lives in front of them, access to this kind of therapy,” Doblin says. “Imagine the kind of lives they could then create.”
If David Nutt, in Britain, is able to prove the efficacy of psilocybin for treatment-resistant depression, would the F.D.A. ever consider approving it for that use? And if that ever were to happen, what sort of slippery slope would we find ourselves on? If, say, end-stage cancer patients can have it, then why not all individuals over the age of, say, 75? If treatment-resistant depressives can have it, then why not their dysthymic counterparts, who suffer in a lower key but whose lives are clearly compromised by their chronic pain? And if dysthymic individuals can have it, then why not those suffering from agoraphobia, shut up day and night in cramped quarters, Xanax bottles littered everywhere?
Besides, Grob told me, scientists are still at the very early stages of this research. “Twelve people,” he says of the size of his study. “One study with 12 people is not very definitive.” And yet, talking to him, you can hear a hint of excitement, something rising. “We saw remarkable and sustained changes in cancer patients’ spiritual dispositions. People’s entire sense of who they are has been altered in a positive manner.” He is looking forward to the day, he told me, when Griffiths and Ross “crunch their numbers” from their current studies. Grob says, “From what they say they’re seeing, it all sounds very positive.” Perhaps, then, we need not understand precisely how and why psilocybin works, accepting, as Halpern puts it, that “when you combine the chemical, the corporeal and the spiritual, you get a spark. You get magic.”
Bone, Eugenia. "Can Mushrooms Treat Depression?" NY Times (2014)
http://www.nytimes.com/2014/11/30/opinion/sunday/can-mushrooms-treat-depression.html


A study published last month in the Journal of the Royal Society Interface compared M.R.I.s of the brains of subjects injected with psilocybin with scans of their normal brain activity. The brains on psilocybin showed radically different connectivity patterns between cortical regions (the parts thought to play an important role in consciousness). The researchers mapped out these connections, revealing the activity of new neural networks between otherwise disconnected brain regions.
The researchers suspect that these unusual connections may be responsible for the synesthetic experience trippers describe, of hearing colors, for example, and seeing sounds. The part of the brain that processes sound may be connecting to the part of the brain that processes sight. The study’s leader, Paul Expert at King’s College London, told me that his team doubted that this psilocybin-induced connectivity lasted. They think they are seeing a temporary modification of the subject’s brain function.

The fact that under the influence of psilocybin the brain temporarily behaves in a new way may be medically significant in treating psychological disorders like depression. “When suffering depression, people get stuck in a spiral of negative thoughts and cannot get out of it,” Dr. Expert said. “One can imagine that breaking any pattern that prevents a ‘proper’ functioning of the brain can be helpful.” Think of it as tripping a breaker or rebooting your computer.
A range of studies have suggested that controlled doses of psilocybin can help the user escape cognitive ruts of all sorts. One study, published in the British Journal of Psychiatry in 2012, rated the vividness of autobiographical memory of subjects on psilocybin and found the drug enhanced their recollection, and “subjective well-being” upon follow-up. The researchers concluded that psilocybin might be useful in psychotherapy as an adjunct therapy to help patients reverse “negative cognitive biases” — a phenomenon common in depression by which one has a greater recall of negative memories than positive ones — and facilitate the recall of important memories.
Don’t get me wrong: I’m not suggesting 16-year-olds take magic mushrooms. I’m not suggesting they be used to party at all. What I am advocating for is a mind open to the possibilities of their use to help people in need. Because illiberality doesn’t cure disease; curiosity does.

Claire Evans, "Livin' in a Mycelial World" Science Blogs, 2011
http://scienceblogs.com/universe/2011/07/17/living-in-a-mycelial-world/

 a visualization of the network structure of the Internet by  Hal Burch  and  Bill Cheswick , courtesy of Lumeta Corporation.

a visualization of the network structure of the Internet by Hal Burch and Bill Cheswick, courtesy of Lumeta Corporation.

Stamets, who calls mycelium “Earth’s Natural Internet,” puts it this way:
I believe the invention of the computer Internet is an inevitable consequence of a previously proven biologically successful model. The earth invented the computer internet for its own benefit, and we, now, being the top organism on this planet, [are] trying to allocate resources in order to protect the biosphere.
Going way out, dark matter conforms to the same mycelial archetype. I believe matter begets life, life becomes single cells, single cells become strings, strings become chains, chains network. And this is the paradigm that we see throughout the universe.
Mycelium, an intertwined network of cells permeating virtually all land masses of Earth, is not something to take lightly. It literally engulfs the soil beneath us in a sentient web, rising up beneath our footsteps, hungry for nutrients. There is something beautiful and horrifying, ancient and keenly technological about these organisms, a complexity it may take a psychedelically-informed, non-institutional mind to fully appreciate.

Day 181 @ ITP: Live Image Processing & Performance

A/V Concert Reviews (in progress)

2/21/2018: AMC Theaters in Times Square with visuals by Undervolt.co artists
Hosted by The Clocktower

Sun Ra Arkestra with visuals by Sabrina Ratté and Peter Burr

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I actually ended up going to several audio-visual concerts this semester, so I chose to use one set from each concert I that attended to talk about for this review. I'll start this one off by saying that is is one of THE most epic audio-visual performances I had ever seen IN MY LIFE, and I almost didn't go to it due to a scheduling confusion, and I'm glad our class urged us all to attend one of the three nights hosted by Clocktower and Undervolt & Co at the AMC movie theater. I'm sure all the nights were great, but I only made it to the one headlined by the Sun Ra Arkestra with YATTA opening, which was also wonderful, but for this I will focus on the Arkestra's performance and accompanying visuals by Sabrina Ratté and Peter Burr. 

While the 15+ person Arkestra would also have been "enough" on its own any day to energize a whole movie theater worth of people, I feel that the live visuals behind them did serve to beautifully support their horns' shrieks and wails and cosmic vocal utterings, like lightning supporting a thunderstorm (or something like this...what are other natural phenomenons of audio and sound that this could be compared to? The sun glistening on a roaring waterfall?).

I thought Sabrina Ratté and Peter Burr did a great job of using what I am assuming was raw visual synthesis and a lot of knob turning on a modular video synth like the LZX synthesizer, following along with the movements of the Arkestra's admittedly very extended set artfully, punctuating it or mirroring it with colors and patterns that seemed to ping and reverberate off and with the music. This pairing of sound and visuals kept the energy up, up, up just like the Arkestra's music did, almost dipping in just a few moments but then rising to the top and staying there or going even higher than before, until it reached a point of feeling effortless, with an extremely positive and high vibration ultimately achieved by the end of the night.

I appreciated that the images were abstract, all colors and lines and shapes made of different combinations of the two, and I think that worked very well to not distract from the music or act as a counterpoint but instead acted as an extension of their bejeweled and sparkling costumes and energy of their sounds, making the wallpaper or theater's screen come alive with lights that seemed to almost emanate from the sounds themselves. It also made me think how effective it is to have the visuals really BIG. I'm really so glad I went!


2/9/2018: The Spectrum with visuals by Jim Tuite
Hosted by Pas Musique

Lauds

This is a show that I also played at, hosted by Pas Musique, who also run the label and platform Alraeleon Musique. The venue Spectrum used to be housed in an apartment on the Lower East Side and it has since moved to a new location on Flushing Ave near the Navy Yard in Brooklyn. Pas Musique has been working with the owner of The Spectrum in both locations to host this series called Ambient Chaos, where ambient music (sometimes very quiet and meditative, sometimes noisier or even jazzier or more improv-based, so really covering the "ambient" spectrum) is paired with live visuals by different resident artists.

For this night it was a pleasure to work with Jim Tuite, who I have seen do visuals numerous times, and see his how his process worked over the course of 4 sets. I talked to Jim some afterwards, and he said that he really tried to listen to each musician and come up with a palette that was suited specifically to their music, which I see again as a beautiful way to support the music and act as an extension of it. Often in these music venue environments I have found that visuals are seen as secondary or unnecessary, but even if things CAN happen without them, in this night at least I really felt that the pairing is what made it special, and though Jim was responding to the music and not the other way around or in between, it still felt like an equal footing.

I enjoyed how he did change it up for each performance, using VDMX to trigger clips and add audio-reactive (I think?) elements that mirrored the music in subtle ways, playing with space and fields of vision, where the foreground would continuously melt away revealing some figures beneath or something almost recognizable, only to then go somewhere totally different and wash the brain with abstract color fields and shapes, to then return to something almost recognizable like people walking around on the street...Genevieve (Lauds)' music was also a beautiful layering of tones and textures both smooth and rough that seemed to fit perfectly with the visuals Jim chose for it, and it felt particularly meditative to sink into the visuals during her set. 


2/3/2018: Zip: UNCOMPRESSED未压缩_Vol.3 at The Three Legged Dog

This night is another example (like the Clocktower/Undervolt & Co. series at the AMC theater) that I probably wouldn't have known about or gone to for sure if it were not for our class and encouragement from fellow ITP classmates to check it out. Again, I'm really so glad I went. I chose to focus on the second set of the night, because it seemed very mysterious to me and I had not heard of any of the artists, and it seemed to be one of the most non hierarchical arrangements of an audio/visual performance that I have seen.

I think this was in large part due to the installation of the space, an immaculate 3 surface projection studio where the audience member's were asked to wear cloth booties so as not to scuff the projection surface on the floor, which made it obvious that they had considered the projections to be an essential part of the experience. It felt like a new kind of venue or experience, and a treat. Because of this the visuals felt so "immersive" (big buzz word there!) in conjunction with the sound (which also had a great system setup it seems), and one did not feel more in the forefront than the other, as I usually feel in music venues that the music is the obvious first priority, with visuals as an afterthought. It felt that this set was a *true* audio-visual performance where both were totally intertwined. I'm not sure if there was any direct interaction like audio reactivity happening with the visuals, but it felt that there was.

The three participants sat on the floor, and it was hard to tell who was doing what, though two had laptops and one had a modular synthesizer setup. The sounds were electronic washes and bubblings that created a ambient soundscape that was almost tactile, washing around us, with at times an acoustic instrument introduced on top, such as a flute or harmonica, which brought it to this almost ceremonial place with the DMT-esque visuals. While I say the visuals looekd DMT-esque they however managed to stay clear of full-on cheesy psychedelia, instead creating an elegant place that also seemed to be tracing the very fabric of the universe, drawing on psychedelic experiences or tropes that we see in pop culture, but again without going too far. Some of this kind of imagery might also just be what visual engines are capable of in terms of basic visual synthesis, hence we see them a lot (such as mirroring, for example) but done in different ways and with a different touch. In this case I think the video artist had a very nuanced touch and also used a lot of variation to create a feeling of a "journey" which was very special and unlike anything I had seen exactly. Because the projects were covering two walls as well as the floor, it also really felt that we were IN the projections, and that added so much as well. I would love to see more venues like this starting to pop up in cities or places everywhere.

Day 181 @ ITP: Recurring Concepts in Art

Readings

Mark Hansen, Ben Rubin, “Listening Post: Giving Voice to On-Line Communication,” Proceedings of the 2002 International Conference on Auditory Display, Kyoto, Japan, July 2-5, 2002 (pdf)
Source

Listening Post is a multimedia art installation designed to convey the magnitude and diversity of online communication. This unique space provides a meaningful rendering of a massive data stream consisting of thousands of simultaneous conversations. In this article, we explore specifically how the audio component of the installation provides a structure that enables visitors to make sensible inferences from this complex, dynamic data. Listening Post makes use of a multi-layer audio display consisting of mechanical noises (relay clicks), sampled sounds, and synthesized voices. We illustrate how these components, together with a very simple visual display, combine and interact to give visitors a sense of the topics being discussed in thousands of chat rooms, all in real time. Finally, we discuss some of the systems and software infrastructure necessary to create the complex audio display.
The sequence of tones selected also follows a kind of self-organizing principle. The pattern that emerges is musical, and the visitor can begin to predict likely “next pitches”. This prediction is not completely accurate, however, because we are not simply cycling through a fixed sequence of pitches. The prevalence of topics fuels the rate of matches which in turn drives the rhythm and mix of pitches in the room.

Subjectively, it seemed as though it was possible to selectively attend to a given utterance even when there may have been as many as forty simultaneous voices in the room. This degree of stream segregation was surprising to us, and we suspect it is due to a combination of several factors:
• The pitching of the voices and the musically-arranged sequence in which pitches were chosen;
• The creation of compound events composed of three types of sounds together (click, tone, voice);
• The use of multiple sources of sound in space
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Because of its power as a compositional tool, Max is responsible for determining values for aesthetic parameters governing the audio display. For inter-process communication, we make extensive use of the Open Sound Control (OSC) [10] protocol originally developed for Max. We wrote a general purpose OSC client in Perl [11] so that Max can communicate with the other pieces of the system. We created a sequence of OSC devices that specify scene type and parameter values. Messages sent to Max included start/stop indicators for the scenes, tickers to record specific events within each scene, and activity monitors that kept Max informed of the activity on the display. As an example, consider the “content” scene explained in Section 4. When an agent identifies a sample to display, several events are triggered simultaneously: 1) the relay on the display makes a loud clicking noise; 2) Max generates a pitched tone, and 3) the TTS engine reads the content displayed on the screen in a monotone voice pitched to match that of the introductory tone. Here is the sequence of events that take place to create this. To start the scene, the controller on the Linux PC sends an OSC message to a port on the NT computer corresponding to this scene. The message specifies how long the scene should run for. When the scene starts, the program on the NT computer sends Max an OSC message indicating that the scene has begun. It also starts a single agent scrolling on the display, and gradually introduces more as the scene progresses.

When Max receives notification that this scene has begun, it sends the TTS engine an OSC message specifying the pitch and volume that the next voice should speak at. These messages are of the form /lp/content/pitchvol p v where p and v are integers. (In terms of the OSC protocol, the first string is a symbolic address that we structure to represent the project, lp, the scene, content, and the parameter names, p and v.) When one of the agents finds a match in the data stream, it sends the message to the display along with the specification that a loud click be issued. It also sends signals to Max and the TTS engine. The latter message consists of the text the TTS engine is to speak (at a pitch and volume previously specified by Max). The notice to Max is of the form /lp/content/pulse. Periodically, Max will also receive messages that record the “activity” on the display; that is the number of text units that currently hold content. Max uses this to adjust the volume of the voices in the room. The OSC message is now of the form /lp/content/activity a, where a is an integer from 0 to 110. When Max receives notice that a match happens, it plays a sample with the pitch sent previously to the TTS engine. It also sends an OSC message to the TTS engine, giving it the volume and pitch of the next voice.

As can be seen from this example, each of the computers involved in creating a Listening Post scene speaks more or less directly to each of the other computers. OSC is the substance of this communication.

Martha Buskirk, “Original Copies,” The Contingent Object of Contemporary Art, MIT Press, 2003, pp. 59-105 (pdf) Further material
Source


Douglas Eklund, “The Pictures Generation,” Heilbrunn Timeline of Art History, the Metropolitan Museum of Art. Introductory essay plus slide show entries.


Gary Indiana, “These ‘80s Artists Are More Important Than Ever,” T Magazine, The New York Times, February 13, 2017.
https://www.nytimes.com/2017/02/13/t-magazine/pictures-generation-new-york-artists-cindy-sherman-robert-longo.html

One of the least helpful clichés of recent years has been the declaration that some phenomenon or person is “on the wrong side of history”; the presumption that history is headed, with occasional setbacks, toward a much-improved, even utopian state of things could only be endorsed by someone unfamiliar with history. Mistaking the perfection of our devices for the perfection of ourselves relieves us of responsibility for what happens to the world: It will just naturally turn out O.K., sooner or later. But technology can easily outrun our comprehension of what it does to us, even while it incarnates our wishes, fears and pathologies. (What could be more pathological than a nuclear weapon?)
The Pictures artists, so-called, were born in Cold War America, during the schizoid cultural meshing of unparalleled national prosperity with the daily threat of looming nuclear annihilation. They grew up with Hollywood movies, low-def network television and ad-heavy pictorial magazines like Look and Life as the audiovisual wallpaper of their childhoods, mostly in American suburbs.
They were intellectuals as well as artists, a disfavored combination throughout most of American art history: Artists weren’t supposed to think about the implications of what they were doing, or the overall context in which it appeared.
Above all else, these artists addressed power, especially patriarchal power, at its quotidian level of social engineering, as well as in its grip on art history.
Photographs could be staged to emphasize the look of artfully subtle, unremarked female stereotypes in movies (Cindy Sherman), or to picture toy housewives in miniature home interiors, evoking the pathos of domestic imprisonment (Laurie Simmons). Photos could be excavated from the morgues of bygone magazines and science journals, blown up and bannered with jarring, sardonic captions (Barbara Kruger). Images could be scissored out of National Geographic and Vogue, and repatriated to blocks of strident primary colors, where their fetishistic weirdness became hilariously disturbing (Sarah Charlesworth). A photo could present art in the settings it occupies after it’s sold, on walls of rich collectors, corporate offices and other privileged venues — today, typically, a billionaire’s storage facility (Louise Lawler).
But above all else, the Pictures artists addressed power, especially patriarchal power, at its quotidian level of social engineering, as well as in its grip on art history. If we are to think of the Pictures Generation as an art movement, then it was the first one in history that included a substantial number of women artists. Much of the early resistance to it was flagrantly misogynistic, though its male artists came in for their own share of ridicule from newspaper and magazine critics, whose favorite dismissive word for this art was “brainy.”
It’s no accident that we are giving these artists a careful second look now. Whatever progressiveness was afforded by the Obama era has come full circle to an isolationist longing where an unpredictable celebrity president speaks directly to an electorate that is collectively backlit by technology’s artificial glow. The emotional resonance of the Pictures Generation has accrued over time, strengthened by its curious suitability to the present.

Day 180 @ ITP: Recurring Concepts in Art

Response Paper #2

KW2.jpg

The Shadow Act: Kara Walker’s Vision by Hilton Als

In Walker’s work, slavery is a nightmare from which no American has yet awakened: bondage, ownership, the selling of bodies for power and cash have made twisted figures of blacks and whites alike, leaving us all scarred, hateful, hated, and diminished.

I found this piece on Kara Walker’s art, as well as her trajectory that led to making the specific type of work that she became famous for, to be incredibly thought provoking on many levels in relation to racism today in America and also in terms of her role as an artist in creating a new lens with which to view and process our history. On Walker’s piece “The End of Uncle Tom” (pictured above), a commentary on the psychological trauma inflicted on society by the acts described in Harriet Beecher Stowe’s 1852 novel, Als remarks that she ties together past and present roots of racism: “Both historical and contemporary, the piece is a critique of slavery, as well as of the casual racism that modern blacks are exposed to on a daily basis in our post-politically correct times. Walker throws hatred back in our faces.”

Though sometimes it is conflated with prejudice or discrimination even in  modern Dictionary definitions (See: Merriam Webster), it seems to me that consensus is becoming (at least on the political left) that the term “racism” is most productively viewed semantically as a cultural term to describe systemic oppression and subjugation of one people by another based on the color of their skin, or their perceived race. Yes, slavery and subjugation has happened in other places to many different kinds of people, but in the United States our framework for the term is clearly rooted in our own history of the European colonizer’s kidnapping and enslavement of African people during the founding of the United States, and there is no way of getting around that in conversation. It seems that in order to talk about it we must recognize this and discuss racism in this country within that context. If we repress its ugliness, and pretend it has gone away it will surely pop out in some other form of violence. Language is a powerful tool, as well as visual language, and Walker confronts the viewer with disturbing, nightmarish parody of our past which creates a visceral effect of discomfort that perhaps provides a lens on our history that words cannot fully convey.

Als describes how essentially views Walker’s themes that she presents in her work as a litmus test for the viewers’ degree of education on racism: “Only the visually illiterate could mistake their post-modern critiques for realistic portrayals, and that is the difference between the racist original and the post-modern, signifying, anti-racist parody that characterizes this genre of artistic expression.” Her work is a challenge to the viewer to elevate their complexity of thinking and use new analytical tools in parsing its meaning and implications.

I found it important to note also how in the ’90s Walker’s work was received as a dangerous threat by other African American artists who viewed her choice to use degrading imagery of slavery. Walker addressed how she views this reaction as problematic and also symptomatic of the same ugliness that she is trying to expose:

“…to dismiss what I do, it basically does what I do: creates a stereotype where once there was a person. Uses all of the accoutrements of that person’s humanity—their skin, their hair, their social life—to construct another character. The only thing that’s missing is the signature, saying, ‘This is my piece. This is my Kara Walker.’”

This points again and highlights the issue of the subjugation of the body, in this case the black body, both in our history as a nation, and also in Walker’s work in order to illustrate and dissect the power struggles that still remain today. Now it seems that the cultural acceptance of the need to discuss these issues is stronger than ever. We must constantly now be reminded of the horrors of World War II, as well as the Cold War, as the threat of another potential catastrophic war is potentially looming on the horizon. Similarly we also need to be reminded of the roots of systemic racism in this country, and of the power structures which were founded upon and still exist that we may take for granted.

Walker’s work invites us to see this history and reexamine how we got here, as well present the need to both look at, acknowledge, and then begin to destroy (possibly heal?) or at least bring into sharp focus the poisonous effects of slavery as a means of confronting them. Walker also does this through claiming a political voice as an African American woman with power in the art world, which also in a way also makes her have to sacrifice herself for consumption by the art market, “…depicted in the press as the art community’s very own Sojourner Truth, a paragon of black righteousness in a corrupt white world—an image that Walker, who has said that she occasionally feels like “somebody’s pet project,” is very much aware of.”

In the article Walker says of own work that she herself wonders where it is all leading, what the next step is beyond the exposing stage:

“And out of this subservient condition…I must escape, go wild, be free, after which I have to confront the questions: How free? How wild? How much further must I go to escape all I’ve internalized?”

In this quote Walker asks this question of herself, but also seemingly rhetorically asking the same question of the viewer. As the roots and workings of racism in America become more  exposed and transparent, where will our society take this issue next, both in art, belief and daily practice?

I believe that only when facing the truth is it possible to move forward; if living a lie, the ability to change reality will always be outside of our grasp. Perhaps Walker’s invitation for us to view the truth with new eyes and in discomfort is a challenge to us to unite in acknowledgment, recognition, and ultimately rejection of this past and the path it has taken us on. From here we go forward, somewhere, anywhere else, armed with the truth of the brutality of our history that Walker is depicting. 

Day 178 @ ITP: Fungus Among Us

Critical Response

Paul Stamets: Mycelium Running

"We face the possibility of being rejected by the biosphere as a virulent organism. But if we act as a responsible species, nature will not evict us."

I think it is particularly interesting to think of the human race as a "virulent organism" that could be ejected from the planet if we do not reform. We have a lot to learn from mycelium and its way of integrating with and supporting the natural and healthily codependent cycles of life on Earth. The idea of "Biotech" is interesting to me because it unites us again with the natural source of many answers to health concerns (in tandem with nurturing and preserving that source), which the pharmaceutical industry has led us far from. 

The relationship between the mycelium's network and nature is highly symbiotic, and caring for the whole. It seems to be a network of non-hierarchy, where the health of the entire system is paramount. Knowing that we are related to fungi in some way makes it easier to see how we too could benefit from creating a non-hierarchical system where we collectively reform our ways to preserve the planet and ourselves as part of it as a whole. It seems that mycelium have also survived many of Earth's species' extinctions and disasters, so there is definitely something for us to learn from there. 

In fact, it seems the very fabric of the universe very much mirrors a mycological network, which is also apparent in the workings of our own brains, and the internet, our invention which mirrors all of the above. In a way the internet also seems like it could create this nonhierarchical access, depending on how we choose to use it.

Seeing mycelium as our "allies" is a deeply moving idea, and their intelligence feels quite mysterious but also fundamental to the workings of both our human brains and the workings of all life on Earth as well as in space itself. So if we can see our brains as also tapping into the greater good of something greater than ourselves, i.e. this mysterious "whole", then maybe we can be a bit more like fungi.

The term "Astrobiology" is fascinating to me. If we can extend our consciousness out from ourselves, and Earth, to the Universe, maybe feeling very small in context of it all (and also mycelium's role in life possibly on other planets or in space), and also how we must be careful not to inoculate unnecessarily outside of our biosphere, of would be humbling and have a positive effect on us as a species and our perception of our role in at all, and duties to both thrive/survive and support and not disrupt the helping and inter-dependent relationships between nature and ourselves, and even outer space. 

The arrangement of "matterenergy" (also just learned this term) in the universe, strings which conserve energy and resemble mycelium, which resembles the internet, brings us back to Paul Stamet's theory that the internet is an archetype rooted in this mycelium-like form which natural networks take.

 
Screen Shot 2018-03-05 at 7.58.47 PM.png

Stamets often underlines that our salvation as a planet and species will be to make like a mushroom and become more integrated in a nonhierarchical web of life, mirroring by the interdependence inherent in fungus intelligence and working with, supporting and becoming allies with both actual "mushroom medicine" as well as with the deep wisdom and metaphysical teachings of mycelium.

"The interconnectedness of life is an obvious truth that we ignore at our peril."

Day 178 @ ITP: Fungus Among Us

Week 2
Readings


Paul Stamets “Mycelium Running” 

Read pp 1-114 of (Yes, it’s a lot, I know. There are charts and pictures and it’s a quick read and you’ll thank me, hopefully. It’s a great book.)
PDF


Deleuze, Gilles, and Pierre Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia (1987)
Introduction: Rhizome
PDF


Tsing, Anna. “Unruly Edges: Mushrooms as Companion Species” Environmental Humanities (2012
PDF


Supplemental Videos:

ANALOGY: Douglas Hofstadter, Analogy as the Core of Cognition https://www.youtube.com/watch?v=n8m7lFQ3njk

How Mushrooms Can Save Bees & Our Food Supply, Paul Stamets, bioneers, 2014
VIDEO
 

ARTIST WORKS

Phil Ross, Mycotecture
http://philross.org/projects/mycotecture/

Maurizio Montalti, Officina Corpuscoli
http://www.corpuscoli.com/

Maurizio Montalti, Bodies of Change
http://www.mediamatic.net/240132/en/bodies-of-change

Jae Rim Lee, Mushroom Death Suit
http://infinityburialproject.com/burial-suit
http://www.ted.com/talks/jae_rhim_lee?language=en

Mediamatic Bio Art Industry
http://www.mediamatic.net/360881/en/mediamatic-bio-industry

Paddestoelen Paradijs: Urban Mushroom Farm and New Materials Lab
http://www.mediamatic.net/230477/en/paddestoelen-paradijs

Intimate Science
http://www.newschool.edu/parsons/subpage.aspx?id=99113

Studio Eric Klarenbeek's mycelium chair
http://www.mediamatic.net/360203/nl/mycelium-chair

Katherine Ball, Biological Sabotagerie
http://katherineball.com/Fuzzy-Biological-Sabotagerie

Spores in Space
http://www.yannseznec.com/works/spores/

Joans Edvard, Myx Lamp
http://jonasedvard.dk/work/myx/

Day 178 @ ITP: Fungus Among Us

Final project outline
Working title: "Medicinal Properties of Mushrooms & Their Effects on the Health of Humans and the Biosphere"

For our final project I would to focus on the medicinal properties of mushrooms. I will outline different types of commonly used medicinal mushrooms (Reishi, Chaga, Shiitake, Maitake, Turkey Tail, etc.) and their individual benefits, and talk about how they are used in boosting the immune system in humans, and possibly even proven to be able to shrink tumors or treat cancer, etc. and provide a basic overview of how that relationship with the human body works. I would also like to touch upon Paul Stamets' theory on mycelium's role in increasing immunity in bees and the impact this could have in preserving our planet's ecosystem as we know it. This could also lead to drawing a greater conclusion or parallel about "mushroom medicine" as a remedy for the state of the planet as a whole, and how mycelium works similarly in nature (an analog between the human body and nature itself). 

I will be using the readings and videos assigned from our class as well as the E-Book "Medicinal Mushrooms: Following the Natural Path to Boosting Your Immunity, Energy and Overall Health".

Day 177 @ ITP: Live Image Processing & Performance

Documentation: 3 Minute Video Performance

Mixed live using Jitter + edited some in Premiere

 

The above video is a demo of what I did for our "3 minute video performance" assignment in class on Monday, but a little shorter and more condensed than when I did it live, where I think the transitions lingered for longer in between clips. Each time I go through the sequence in Max it ends up being/looking/feeling a little different. Through practicing live mixing this sequence I got some ideas for other videos like this that could be mixed with Jitter in realtime using tones and color, in different patterns or lengths, and be shown as standalone videos afterwards or in an installation, or possibly used also as part of a longer live performance.

Using Max does change how the video ends up looking or feels to control, and because of the nature of how I'm moving the parameters with a track pad in the presentation mode's interface (which I did enjoy having the ability to modify!). Maybe a MIDI controller would yield a different result when mapped to the presentation mode, or TouchOSC, which I didn't get to using this time. I actually wonder how smoothly that would work. It would be ideal to have a big clunky video mixer with giant dials for changing the effects that transitions very slowly or quickly as needed.

Ultimately I think this general idea will eventually take a longer form, and also be developed for my final for this class (possibly also incorporating the crystal singing bowls/lights as we discussed before!!).

Note to self: Again in relation to things we are learning about in Algorithmic Composition — I also was thinking of shifting a series of video clips like these algorithmically or randomly somehow so the sequence would never be the same, like a self creating meditation video that plays on endless changing loop, with audio as well either attached to the clips or shuffling. In the future I would like to build on this.

Another note, many days later: Go MORE abstract moving forward with this! And spend longer on each clip in the longer version to sprawl it out. The eye was too literal and did not get sublimated enough here. More blurry, smoothening, barely decipherable shapes/images and slower.

 Playing w/ projector from ITP - different screen shots... 

Playing w/ projector from ITP - different screen shots... 

Screen Shot 2018-03-01 at 11.58.39 PM.png

My Max Patch

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