with additional resources:
- Flash In Japan: Brian Massumi on Rafael Lozano-Hemmer’s Amodal Suspension 2003
- Public Warning in the Networked Age: Open Standards to the Rescue? by Art Botterell and Ronja Addams-Moring March 2007
- Tele-Agency: Telematics, Telerobotics and the Art of Meaning by Edward A. Shanken 2000

The writings of Nicolas Bourriaud on the subject of Relational Form takes a broader look upon the structures of art in contemporary society. Bourriaud’s main focus is on the relationship between the artwork and the cultural space in which it was created. The cultural space that art now inhabits is so distant from a hundred years ago that it must be looked at with an entirely new set of understandings. It’s become more important now that ever before to understand that art is in a constant state of flux, and it is this environment of change which gives life and meaning to art.

Bourriaud focuses on the role of modernity in shaping the way we relate to society in contemporary times. While modernity had a teleological view of a utopian life, engineered through the great technological advances of the industrial revolution, contemporary society has abandoned this pursuit for a more realistic path. It’s understood now that we have inherited the history of our ancestors and instead of reengineering the world we live in, we attempt to improve our situation while slowly ameliorating our current social structures. Modern art attempted to present us with the world of the future, the ideological world of modernity, in a revolutionary movement. The art of today investigates the world as it is, and focusing on societies state of constant change.

In the article Bourriaud uses Michel de Certeau’s term tenant of culture to describe the role of the artist in contemporary society. The artist as a proponent for social understanding is a interesting concept. The artist has always been a cultural force, yet in modern times, culture has been appropriated by our capitalist system, so the artist is a different type agent within this system. Since culture is it’s own unstoppable force at this point, the artist is really just branching out of existing cultural spheres as opposed to crafting it’s own cultural niches. In the article “Tele-Agency: Telematics, Telerobotics and the Art of Meaning”, Edward A. Shanken discusses the interplay of technology with art practices. In reference to a 1978 report by Nora and Minc in regards to The Computrization of Society, he discusses how this great advancement of technology holds great potential in crafting our future society. They inferred that this technology will either bring way for greater freedoms, or facilitate greater control by ruling factions. This idea of freedom vs. control is addressed in Bourriauds analysis of art and urbanization of society. He goes onto explain that as we become less isolated and open up to the world, the artwork reflects that freedom. Art becomes less of a commodity and opens itself in a more free and experiential way. Art becomes less centralized around ideas of ownership and becomes a more decentralized area of exploration and investigation. This moves art closer to the ideal situation that Nora and Minc we’re reffering too, a “system of connections that will allow information and social organization to progress together.”

This libration of art, from an object, to an interconnected telematic experience has changed the fundemental relationship between the audience and the work. In Relational Form Bourriard explains:
“Unlike an object that is closed in on itself by the intervention of a style and a signature, presen-day art shows that form only exists in the encounter and in the dynamic relationship enjoyed by and artistic proposition with other formations, artistic or otherwise.”
Bourriard see’s this new relationship as a “collaborative elaboration of meaning”. He sees art becoming a sort of web in itself. It is no longer an autonomous being, it needs to be fully connected with the world around it. Looking at the work “Amodal Suspension” by Rafael Lozano-Hemmer, this relationship becomes very apparent. In an article about the piece, Brian Massumi declares that it “makes visible the re-arising of reemergence of specifically human communication, in its first flush, ot flash, seen for what it is: a nonlinear crowd phenomenon”. Amodal Suspension is an interactive outdoor installation involving text messages and lights which act as visual carriers for the messages, as they travel from sender to receiver, touching on a number of different complexities within telematic communication. Massumi describes the interaction of the piece as “a visual analogue of human language, that reattaches language not only to a particular cultural evolution but also to the biosemiotic background from which it emerged”. He touches on the concepts of relational form, as he describes Lozano-Hemmer’s piece as a cultural evolution, reacting to a constant state of change, reaffirming Bourriard’s assertions on the role of the artist today. These characteristics in the piece emphasize the idea of a new mode of interaction with art, where the audience truely is a vehicle for meaning. Bourriard’s description of the audience in contemporary art can practically be applied directly to Amodal Suspension:

“This is the precise nature of contemporary art exhibition in the arena of representational commerce: it creates free arena, and time spans whose rhythm contrasts with those structuring everyday life, and it encourages an inter-human commerce that differs from the “communication zones” that are imposed upon us.”

At the heart of Lozano-Hemmer’s piece is this detachment from everyday social communications and opens up new ways of thinking about our existing social structures. As collaborative systems are being adopted in the exhibition of contemporary work, it becomes more than ever a fundamental element of modern art. Collaborative practices are now being adopted in other areas of art and design in a groundbreaking way.

In Art Botterell and Ronja Addams-Moring’s article Public Warning in the Network Age: Open Standards to the Rescue?, they go on to discuss the use of open-source warning systems for emergencies and hazards. While this discussion does not revolve around the art world, it poses a significant issue for design. Our current systems of warning revolve around centralized areas of broadcast, with each area of broadcast developing it’s own methods of warning. With the prevalence of the internet and mobile technology, there are open source initiatives that can unify the way we communicate warnings to the population. Botterell and Addams-Moring present some online use of wikis, blogs and websites dedicated solely for the communication of warning. These open technologies allow for easy implementation and access to tools of communcation. They make the poignant statement that natural disasters have no respect for borders, and thus our warning techniques should be open and free of borders. This universal attitude towards warning systems presents a design solution to a serious problem. They present the possibility that we can perhaps have international warnings, visual, auditory, that can be open standards compliant and be easily reproducible on a multitude of devices. This is a very real application of the technologies of the information age. We have potentially been underselling these technologies by simply focusing on new ways to watch tv and listen to music, when we could be exploring new ways of governing and learning.

In the investigation of the topic of networking, a theme kept creeping into my head. The idea of collaboration as means of deepening experience and meaning. This is the most powerful consequence of the information age. Having a system which enables extremely easy access to information, and at the same time creating new forms of rapid communication, creates enormous possibilities in furthering humanitarian pursuits. We choose to spend so much of this technology in finding new ways of entertaining us, while increasing the complexities of our daily lives. The world community is now in near perfect communication with one another, and with the masses connected, there should be nothing holding us back to begin to develop worldwide projects for the amelioration of human life. Taking for example the global project of the open source operating system Linux. It presents a great model to what an open source community can do. With the sharing of information and code, people around the globe have spent time making a computer platform that is 100% free and accessible to anyone. These sorts of projects are largely dismissed by north american government, while some european nations are beginning to adopt it at greater rates. With our capitalistic system degenerating our way of life, it could very well be a new open community of ideas and information that present new ways of living in the 21st century.

Lovejoy’s thesis for this chapter is delivered poignantly in its first paragraph: major changes in communications systems foster enormous shifts in societal connectivity.

She begins dissecting her argument in reference to ideas laid out in the 1930s in Walter Benjamin’s The Author as Producer, in which he suggests a transformation in the main function of artworks toward an emphasis on social function – Benjamin would propose the idea of spectator as collaborator.  He would urge artists to challenge the system and transform it, as opposed to simply supplying it.  Shying away from being overtly idealistic, he was also aware of the potential that technologies possess in regard to their ability to end up controlling us, and would stress among his ideas the possible dangers if artists were to create without fully understanding their role in the use of new technologies.  As art now begins to be distributed on the Internet, Lovejoy continues along Benjamin’s train of thought, asking us: can we control it?

Lovejoy claims that the participatory aspect of the Internet supplies the grounds for a communications revolution – a new kind of dialogic public space that holds great promise, though she does not shy away from admitting of the great challenges it simultaneously presents.  As its form lacks fixed entry points and narratives, Lovejoy understands how content and context, terms that have previously been so strictly defined (particularly in regard to the exhibition of artworks), have become entirely interchangeable characteristics.   As the interplay between form and dialogue has come to forge new unpredictability to the aesthetic territory in which artworks lie, what occurs is the allowance of dialogic imagination, where the work begins to pertain to an arena of consciousness and feeling that did not previously exist – shared authorship and social exchange.

As metaphors for networks or webs have come to be defined as the infrastructure in which telematic communication occurs, Lovejoy draws attention its non-confined, open-endedness, where previous conceptual systems based upon ideas of center, margin, hierarchy, and linearity are replaced.  She cites Roland Barthes’ From Work to Text, which suggests that “…knowledge no longer exists in fixed canons or texts with epistemological boundaries between disciplines but rather it exists as paths of inquiry seeking integration and meaning by passing through them without any precise limit or location…”  She continues by referencing Deleuze and Guattari’s A Thousand Plateaus, in which they further Barthes’ claims, leaning toward an orientation for knowledge based upon the desire of chartering unforeseen directions.  Their ideas cater to those “…who have a certain taste for the unknown, for what is not already determined by history or society…”  She goes on to reference the work of Kit Galloway and Sherrie Rabinowitz (exploiting the phenomenon of the power of communication technologies to be able to mix spaces or exchange spaces), making clear their goal of being able to “…experience new ways of collaboration and co-creation, with geography no longer a boundary…”

Lovejoy goes on to describe the potential that creative networking can possess to build links between communities previously unable to communicate with each other – to generate “…a more participatory culture in order to engage and stimulate the collective imagination…”  She makes note of the fact that interactive new media artworks travel with the viewer, providing greater potential for the creation of meaning.  The Internet, thus, becomes a form of collective social consciousness.

Though Lovejoy is certain that the Internet embodies a certain promise of democracy (ideally being available to anyone, anytime, anywhere), she is also aware of the issues it poses seeing as though it is inextricably linked to commercial and corporate influence – access is also a matter of filtration.  In regard to such issues, she poses some very interesting questions: Will there be cultural dominance and language dominance by those who have greater access to technology?  Will selected access to powerful technologies create elitism?  She suggests that it is the public’s responsibility to establish acceptable uses of the new technologies.  Otherwise, she claims, powerful monopolies will continue to determine what is fed into the cultural mainstream.

Lovejoy’s concluding thoughts return to Benjamin’s thesis: artists are vital to the development of the process of cultural response to the new technologies.  She finishes with a quote from Stephen Willats’ Art and Social Function:

“…the realization that all ‘art’ is dependent on society – dependant on relationships between people and not the sole product of any one person – is becoming increasingly important in the shaping of future culture…”

Johnson, See What Happens (from Emergence), 2001

Johnson speculates on they type of data the networks of the future will be transmitting.  Specifically, he references the development of Will Wright’s latest creation, The Sims Online, a game that allows players to collectively build cities as part of a massive network collaboration.  Every single citizen of these virtual worlds will be controlled by actual human beings, logged into the system from all around the world.

An early draft of the of the game displayed a neighborhood-creation system that seemed to Johnson to be straight out of the pages of Jane Jacobs – defined from the bottom up, and encouraging shorter blocks, livelier sidewalks, mixed-used zoning, and pedestrian-based transportation.

Contrary to popular speculation, Johnson does not see our newfound access to virtual cities on the computer screen abating our appetite for real-world city living.  Rather than delivering the deathblow to city living (finishing a forty-year process that had begun with the suburban flight of the postwar years), Johnson claims the digital revolution to have turned out to be a tremendous energizer for dense urban centers.  He understands that industries driven by ideas naturally gravitate toward physical centers of idea generation, that bright minds with shared interests still flock together, even when they have wireless modems and broadband in their living rooms.  He suggests that even in an age of instant data transmissions, that the old-style self-organizing city is today as vital and relevant as it has ever been.

Rowland, The Need to Communicate (from Spirit of the Web), 1999

Rowland begins with a history of the Greek alphabet – it was not invented until about 730 B.C.  He notes that through archeological evidence, it appeared rather suddenly, and was used from the beginning for what we now refer to as ‘literary purposes’ rather than for accounting, list keeping and other trade and business functions.

He discusses how until the coming of Greek writing, literacy was entirely elitist, and that as a communications technology, its failure to penetrate beyond the ranks of the professional would severely limit its impact on society at large.  Rowland compares the situation to the nascent days of personal computer communications, when only the highly skilled ‘computer whiz’ had the means and capacity to make use of the technology.

Rowland suggests that as the Greek alphabet disintermediated the notion of literacy, it would simultaneously provide for profound and unpredictable effects upon the civilization that would be forced to embrace it.  He claims that the alphabet would make possible the evolution of the detached intellectual state that makes possible the ability to philosophize and think abstractly – a shift that would make way for rational inquiry, inevitably leading to the scientific method.

Rowland understands that communications media are not neutral, but that they rather ‘colour’ or ‘shade’ the information they carry to greater or lesser degrees.  He states that they possess the inherent potential to shape the very consciousness of their users by their emphasis on a single sense or set of senses, to the outright exclusion of others.

Davis, Crossed Wires (from TechGnosis), 2004

Davis suggests that by their very nature, information and communication technologies (or ‘media’) are technocultural hybrids.  He argues that on one hand, they pertain to crafted, material mechanisms that are conceived, constructed, and exploited for gain, though, he continues, they are also animated by something that has nothing to do with matter or technique.  Davis feels that information technology, more than any other invention, transcends its status as a thing, simply due to its allowance for the incorporeal encoding and transmission of mind and meaning.

He feels that, in a sense, this hybridity reflects the age-old sibling rivalry between form and content .  He states that the “…material and technical structure of media impose formal constraints on communication, even as the immediacy of communication continues to challenge formal limitations as it crackles from mind to mind, pushing the envelope of intelligence, art, and information flow…”

Rowland also suggests that the new interfaces that have come to emerge between the self, the other, and the world beyond has forced media technologies to have no choice but to become part of this self, this other, and this new world.  They have come to form the foundation for what we now increasingly refer to as the ‘social construction of reality.’  He continues, claiming that by submitting ourselves to the robot of science, technology, and media culture, we will continually cut ourselves off from the richness of the soul and from the deeply nourishing networks of family, community, and the local hand.

Word Count: 1544

see comment for code

We’ve developed a proof of concept with the multi-touch surface, and with proper lighting the FTIR effect should be more than sufficient.

We’ve developed our conceptual framework around conciousness and the functional systems involved with it. We are interested in noise and the convergence of specific frequencies into a harmony, a signal, and thus a concious awareness of information.

We’ve investigated emmergence, and it’s peculiar ways of developing out of seemingly random number patterns. We see the potential of emmergant systems within a network of information and we understand that through visualization we can bring a new level of awareness to the relationships of data.

We are building this peice inside of networked space, requiring up to three locations, working in a symbiotic relationship. With each location having a complete dependency of the other to make it a successful peice.

So the question becomes, can we incorporate all these concepts into a coherent, intriguing and ultimately fulfilling experince?

Concerns that are unavoidable are as follows:

1) the multi-touch and it’s relationship to the other location’s lack of one.

2) making emmergence and conciousness work together, especially with data

3) the data itself, what are it’s characteristics and how can we use it to drive the peice.

4) the functionality of the multi-touch, will it help the concept, and will it work technically how we expect.

These problems can all be addressed, but we need to figure out how.

Tobin and I have discussed areas which are of interest and what type of production we would take on relating to the interests.

In partcular, we are interested in developing an atmosphere which is completely related to the concept of conciousness. The tension between noise and harmony, through multiple senses, light, sound, and potentially smell. Conciousness is thus reduced down to the idea that all we experience is through our senses, and the senses we share with one another contribute to our collective conciousness.

So with a willingness on the part of the group, we hope to focus on this aspect of conciouness and what it means in a sense of shared atmosphere.

Now if there are other elements that we choose to add, i think it’s totally open and we can develop this further.

One potential direction we might want to consider is to make two somewhat related but autonomous peices. Just to have a clearer focus on concept and not to try and complicate ideas.

Another potential is to find some way to build a second multi-touch like dave suggested, thus insuring a cohesive connection between the two locations.

So many ideas still yet to discuss, so we look forward to everyones input. In any case, Tobin and I are very interested in the idea of networked atmosphere and hope to incorporate that into the project.

Multi-touch user interface

Infra-red technologies

Carnivore Libraries

Processing - Blob Detection

Processing - Emergant systems

Processing - Networked midi

Pulse Sensing

Sound+visuals sharing data

Jeff Han

• Multi-touch Interaction Research
• Jeff Han introducing Multi-touch at TED

Mushron Zer-Aviv

• We Make Money Not Art interview
• Upgrade!

Reas - Processing

Global Conciousness Project

Binary theory/Quantum Theory

Interaction design

• John Maeda
• Shulze and Webb

Information Aesthetics

Emergent structures and behaviors

Virtual conciousness

nodes and their relationships in network space

visualizing networked space

data flexibility

Everyone watch this

www.shiffman.net/teaching

this looks intense…

• dnaLength - length of the dna() array in all chromosomes
• traitSize - current max. value in all values of chromosomes dna()
• poolSize - intitla number of random chromosomes genterated and added to gene-Pool() Vector Array

We can use these variables with the network data gathered by Carnivore to create our Gene-pools.

GA Library 

“We shouldn’t go overboard about the power of these techniques at the moment, but what you can be absolutely sure of is that these will continue to roll out and we will have more and more ability to probe people’s intentions, minds, background thoughts, hopes and emotions.“

Read the article here.

…poses some interesting questions, and may possibly contribute to further layers of meaning within our piece…

i. Source

• the theoretical framework of consciousness and existence, clearly represented via the manifestation of its virtual, interactive simulation

ii. Shared-Space

• the user’s experience is positioned in competition with a community of elements, translated among both real and virtual realms

iii. Shared-Time

• the virtualization becomes a sun (as metaphor), creating a unified autonomous focal point, exclusive of time

iv. Interval

• the immersive responsiveness of the experience develops the sense of enraptured influence, where no level of disengagement fully absolves your effect on the system

Which aspects of the Moist Manifesto would your project realize?

Deconstructs the information, retrieved from human presence, into a translated virtual consciousness, presenting the idea of virtual spirituality; interpreting the wet as dry in its origin.

What is the programme of your architecture? What behaviour is embedded, expected, encouraged?

Extracting, mapping and interacting with network-generated frequencies. The generated information manifests in three-dimensional virtual space as fractals, with levels of data being examined by the user. Awareness of the data frequencies is imposed upon the user, spawning new vehicles for enriched experiences.

What seeds are you planting? What are you growing?

The project stems from the idea that consciousness lives in the space of data frequencies, where noise is a constant and harmonies intentional. The experience of the user is predicated upon unintentional data retrieval, which becomes malleable as the user is enlightened to the networked consciousness. With the accumulation of individual and site-specific data characteristics, the system will create a third level of being, superceding the system itself. The initial engagement starts with the user, develops into the site, communicates with the network, and manifests as a representation of consciousness.

A reflection drawn from the present view on the evolution of science and the understanding of the human mind (consciousness). Playing with the ahistoric qualities therein – a constant human desire to understand what it is to ‘be,’ we will also be commenting on today’s perspective of technology and its effects on religion and spirituality.

NETWORK CHARACTERISTICS

A representation of the invisible glue that holds information together – the harmonization of existing versus new.

• randomness represented through some sort of lag
• information analyzed as frequencies
• static interpreted as ‘nothingness’
• the multi-dimensionality of the ‘consciousness’ (individual, site and network as a whole) emerges only upon interaction within the network

INPUT

Brainwaves (most likely a metaphorical representation thereof) influenced via emotional manipulation caused and effected via the state of the collective consciousness being monitored.

Individual ←→ Site ←→ Group

Direct and indirect experience – the viewer, even if not aware of their manipulation of the system, cannot escape the influence they will have upon it.

STRUCTURAL

• measuring EKG frequencies (metaphorical representation thereof)
• differentiating unified experiences from random ones
• tangible representations (individual) versus abstract representations (collective)

PERCEPTUAL

Individual consciousness expands into a collective consciousness.

• begins with 1 and 0
• square wave becomes sine wave (digital to analog)
• site becomes a ‘hive’ brought about via flash-mob mentality

input > arduino board > transmit > data > packets > sniffing > carnivore > processing > maxmsp > multimedia

Carnivore Download

Robert Nelson, using random number generators as a means of acquiring noise, shows how they form relationships with human conciousness.

We-Make-Money-Not-ART 

Let’s figure-out a way to do something about this  - the only way we know how….

Additions to the patch also include a counter which makes sure the video clips stay under a certain length

minor problems:

- the video only records every other time.

what direction to go in for tuesday:

1. set up some sort of delay on the alpha matrix.

2. accumulate more clips for fast cuts. Grabbing current news, uncovered stories (iraqi soldiers crushing mans car ect.), anything striving for “truth”

Patch code in comments 

• Sliders
• depending on light; CNN may have to be negative; so slider won’t work
• Fast Cuts
• you have to toggle the max & min for playback speed
• slider for randomness seems ineffective; set value @40 & toggle
• Mirror effect
• change variables… and then put them back; doesn’t work unless you do this
• jit.qt.record set write variable

Figure out how to:

• increment the new variable
• attach recordSWITCH to qt.record so that bangs affect write and stop
• manually target where qtmovie saves

view comment for code

Priorities:

1. finish documentation for live @ 11 ASAP
2. complete node implementation of mediaIdentity 8 days left
3. finish node documentation for Dec

Next week should focus purely on getting these things done.

EDIT: just tested! video slider sucessfully scrubs to motion!

the following has been addressed:

1. surveillance (jt.qt.record write mov)
2. audio panning affected by location of audience (jit.findbounds)
3. speed of video affected by motion (jit.qt.movie rate $1)

• Integrate/hide camera into physical piece
• Adding delay to interaction, surveillance (jt.qt.record jit.avc write *.mov)
• Converting alpha mask to motion detection vs. threshold (jit.op @op absdiff)
• Audio volume affected by amount of mass in the camera view (spigout~)
• Delay lag with audio, more fluidity (delay~ tapin~ tapout~)
• Competing audio, CNN news vs. Chomsky and Nader (peakamp~)
• Left and right audio panning affected by location of audience (jit.findbounds)
• Speed of the video is affected by amount of motion (jit.qt.movie rate $1 frame $1 rslider)

Link

1. here is an online form to start the process
2. this is the pdf form with all their requirements

We should even consider DJ/Visuals and throwing a party there one night!

Create a complex kinetic sculpture, through simple physical systems, no coding, simple electronics. Gives us a better understanding of construction, systems, and materials.

Springs, gears, pulleys, cranks, tubes, tanks, ect.

Move into interaction for second semiester.

for reference:

tim hawkinson

kinetic sculpture video

As senior vice-president of design at Apple, Jonathan Ive has combined what he describes as “fanatical care beyond the obvious stuff” with relentless experiments into new tools, materials and production processes, to design such ground-breaking products as the iMAC, iBook, the PowerBook G4 and the iPod MP3 player. He won the Design Museum’s first Designer of the Year prize for the 2002 iMac and iPod.

“Contemporary neuroscience suggests the existence of fundamental algorithms by which all sensory transduction is translated into an intrinsic, brain-specific code. Direct stimulation of these codes within the human temporal or limbic cortices by applied electromagnetic patterns may require energy levels which are within the range of both geomagnetic activity and contemporary communication networks. A process which is coupled to the narrow band of brain temperature could allow all normal human brains to be affected by a subharmonic whose frequency range at about 10 Hz would only vary by 0.1 Hz.”

An Invisible Information Highway

“Like physical light (energy) and elementary particles (mass), consciousness (information) enjoys a wave/particle duality that allows it to circumvent and penetrate barriers and to resonate with other consciousnesses and with appropriate aspects of the environment. Thereby it can both acquire and insert information, both objective and subjective, from and to its resonant partners.”

Princeton Engineering Anomalies Research

• the observers then, take on the role of the meditative mind; they way meditation allows you to examine your thoughts from an alternative perspective; so does the piece.
• the bubble making is the analog of the body/mind and encode/perceive duality
• we fill the tanks 70% (thanks Peter) to represent the amount of water constituting the human body.

1. physical tank (aquarium?); “wall of water”
2. micro controller, motor: valve, BASIC, WiFi
3. teleNetworks, Max/Jitter, RSS, XML

Convergence; manifestation

• effervescent Consciousness ver. 0.2

Apps:

• flashserver universal binary
• NADA - flash

Bubble Walls!!  

Building an interactive sculpture involving a large water tank with multiple valves which produce bubbles+light.

The valves would be activated by external controls, and as we bring our node project into the realm of interconnectivity, we will deploy RSS and XML sockets to then control the output of the bubbles from the valve.

This is worth 10% of our final mark!

• schedule
• instructions 
• evaluation

Download here.

Vidvox recently posted a beta of Grid Pro as a Universal Binary application. Its been completely re-written from scratch and isn’t based off a large Max/MSP patch, but rather Core Image filters.

DBV Static is an open source VJ app made in Max/MSP/Jitter from Satoshi Horii. Its pretty basic in functionality, but does what it does really well, and the UI is beautiful.

The first question that needs to be addressed is what we want the documention to communicate. We want to make the themes to be self-evident insofar that they capture the essence of the physical installation. The installation manifests a strong relationship to the individual that is analagous in giving the user a sense of control within the documentation itself.

The DVD will present an alternative viewing experience by combining video footage and overlay menus. The viewer will be able to access infromation at will via semi-transparent buttons overlayed ontop of recorded footage of the piece in it’s interactive environment. The controls will allow a viewer to experience the quiessence of the installation, while  accessing deeper levels of meaning through the links.

Categories:

• Conceptual; Body Politic
• Functional; practical integration
• Experience; user response/interaction
• Epilogue; conclsuive narrative

The ISO will be available via download from a Flash Media site and will include the documentation in its entirety. The Flash site however, will be a more general overview rather than a meticulous interactive document.

Next gen performance art.

This article has images of the suit that is modeled on the human skeletal form using rotational joint sensors. It plugs into a MIDI interface and arm movements are converted into a real-time stream of MIDI data. The mapping interface eXo-software allows the user to define how the movements are translated into MIDI control.

Software included with the suit lets the user control any MIDI-enabled program including Cubase, Live, Logic Audio, ProTools, MotionBuilder, Reason, Traktor DJ Studio and any VST instrument or effect.

Check out their VJing programs.

Visit Flight404.com.

Today in class we attempted to map the waveform form our synth onto the audio coming form our video footage. We want to use the sythn’s waveform to distort our CNN soundscape.

• We first attempted to use the SnapShot object to take slices from our synth and convert the waveform slices into useable values; this was unsuccesfull (although Steve’s version worked on his system).
• After searching cycling74, we think that jit.catch~ object is exactly what we need, but for some reason it is not on any of the systems in the lab - it may be that we do not have the latest version.
• We then found the spigout~ object; that basically extracts the audio from a clip.
• all we need to do then (thanks to Steve) is use an addidtion statement to merge the two waveforms together.
• however, we could not get spigout~ to work.

What’s next?

• Perhaps we should make another post to the cycling74 forum, and ask some questions about our patch - like why spigout~ is not working
• still need to add jit.tap.delay~ to our patch
• get our hands on that video adapter
• test on location
• discuss our documentation

visit Instructables

my username is adepape for anyone that cares.

link [via] We-Make-Money-Not-Art.com

• Save files as text not max bin using save as from within max
• The reason for this is patches scramble over the net

“A car crash between two vehicles traveling at extraordinary speeds that takes four years to happen. In one car are internationally recognised computer scientists able to teach programming and control of visual media. In the other are artists, musicians, theorists and designers who are determined to reinvent how art, language and human beings are represented in the 21st century. Miraculously everyone walks away from the crash unscarred, and from the wreckage emerges a software artist able to operate at an exceptionally creative level in both corporate and cultural industries.” • Ruairi Glynn

Any suggestions?

• http://www.artificialeyes.tv/vip

This is valuable. An entire Max MSP objects directory! Say goodbye to random google searches.

• http://www.maxobjects.com/