Sep 2006
SONICPLAY
24/09/06 01:48 Filed in: audiovisual
NEW RELIGION
19/09/06 02:17 Filed in: communication
WHITE MIDDLE CLASS
16/09/06 13:02 Filed in: communication
I have just cleared out my latest series of
interactive projects from the MSc group show and
come to the realisation that the systems I create
need to change, I need something more practical and
inexpensive, i feel the limits on both sides, Video
is like the final frontier with open source
software It needs a fast speed computer and i use a
lot of it (video). Other than that I feel limited
to presenting my works within institutes that can
facilitate what i need, and that means presenting
in a predominantly western world. If I am to keep
on using systems that depend upon expensive
technologies and high spec computer systems, I will
ensure to address concerns that tackle social
concerns, welfare, diversity and education and all
the other really important objectives that will
facilitate bridging the gap between those that have
the technology and educational system to support
this creativity and those that don't.
Consider this if you will..
Are locative media and psychogeography projects just entertainment for white, middle-class, gadget-oriented consumers? Mapping impulses, locative media projects and psychogeographic investigations of place and community have proliferated over the past decade. There is a rich, interdisciplinary field of practice and new strategies, tactics and tools are being invented all the time. However, there is also the need for critical evaluation and discussion of the relevance and impact of these cultural projects. Factors of race and class are often overlooked. Connections to the material (often military and corporate) circumstances of the development of technologies deployed in these projects are often swept aside. It is clear that more participation and play does not mean more democracy and freedom.
extracted from a recent talk by Catherine D’Ignazio a.k.a. kanarinka at the Upgrade New York .
Consider this if you will..
Are locative media and psychogeography projects just entertainment for white, middle-class, gadget-oriented consumers? Mapping impulses, locative media projects and psychogeographic investigations of place and community have proliferated over the past decade. There is a rich, interdisciplinary field of practice and new strategies, tactics and tools are being invented all the time. However, there is also the need for critical evaluation and discussion of the relevance and impact of these cultural projects. Factors of race and class are often overlooked. Connections to the material (often military and corporate) circumstances of the development of technologies deployed in these projects are often swept aside. It is clear that more participation and play does not mean more democracy and freedom.
extracted from a recent talk by Catherine D’Ignazio a.k.a. kanarinka at the Upgrade New York .
MY ROBOT FRIEND
09/09/06 23:03 Filed in: audiovisual
ISADORA G.S.A.
08/09/06 11:18 Filed in: workshops
COLORBALL
07/09/06 11:21 Filed in: workshops
I recently stumbled across an old project I had
forgot all about. In 2004 I utilised the changes of
pitch and frequency within the human voice to
create varying colors of field within a projected
sphere of light. This I recall came about through
my interest with the work of Nam June Paik, most
specifically his first interactive TV piece which
enabled a viewer, by talking into a microphone to
manipulate the play of electrostatic images upon
the Television screen.
Such basic interactive works still hold context within my recent practice. In TAO JOYSTICK I use a similar frequency level watcher to exchange the play of sounds into more complex audio and visual composition, attaching to the varied frequencies - position, tempo, and duration of any externally synched video footage.
Such basic interactive works still hold context within my recent practice. In TAO JOYSTICK I use a similar frequency level watcher to exchange the play of sounds into more complex audio and visual composition, attaching to the varied frequencies - position, tempo, and duration of any externally synched video footage.
ISADORA RECONTEXTUALISED
06/09/06 15:42 Filed in: digital
performance
NOISE MAKING MACHINES
06/09/06 14:43 Filed in: sound
This is a follow up to my fascination with horns
and acoustic amplifiers, which have been a strong
influence in
my designing of works such as the recently commisioned foghorns for the Futuresonic festival. Manchester.
and Acorn Electronics exhibited in Glasgow International 2005.
Artist Matt Hope has created HornMassive, a 2-ton, 2000-watt steel and aluminum horn sound system on wheels.
As far as I can tell it's mostly been used at a few raves but hopefully a mutual friend can introduce him to the guys from Konono No 1 at some point.
This massive horn reminded me instantly of the wonderful pictures of Japanese War Tubas and various acoustic location devices
used during WWI and WWII to detect the noise of distant enemy planes approaching. In England, the preferred devices for this sort of
enterprise were concrete sound mirrors which dotted the UK's southern coast and many of which are still standing today.
A few years back, Danish artist Lise Autogena embarked on a new project to create a pair of contemporary sound mirrors
that will allow people across the English channel to converse with each other, an especially ambitious (and seemingly impossible)
goal considering that Matt Hope's 2000 watt device is touted as being able to be heard 1 kilometer away.
Says Autogena in a 2001 Guardian article
"I love the fact that it's such an awkward, failed technology, which hasn't been covered up... New acoustic technology in America
can isolate sounds. So when you stand at a certain point in the mirror, you'll be able to hear the voice of the person standing by the mirror in France -
but only at an exact spot in the mirror. Move just a centimetre and the sound will disappear."
Link to Autogena's Sound Mirrors Project
my designing of works such as the recently commisioned foghorns for the Futuresonic festival. Manchester.
and Acorn Electronics exhibited in Glasgow International 2005.
Artist Matt Hope has created HornMassive, a 2-ton, 2000-watt steel and aluminum horn sound system on wheels.
As far as I can tell it's mostly been used at a few raves but hopefully a mutual friend can introduce him to the guys from Konono No 1 at some point.
This massive horn reminded me instantly of the wonderful pictures of Japanese War Tubas and various acoustic location devices
used during WWI and WWII to detect the noise of distant enemy planes approaching. In England, the preferred devices for this sort of
enterprise were concrete sound mirrors which dotted the UK's southern coast and many of which are still standing today.
A few years back, Danish artist Lise Autogena embarked on a new project to create a pair of contemporary sound mirrors
that will allow people across the English channel to converse with each other, an especially ambitious (and seemingly impossible)
goal considering that Matt Hope's 2000 watt device is touted as being able to be heard 1 kilometer away.
Says Autogena in a 2001 Guardian article
"I love the fact that it's such an awkward, failed technology, which hasn't been covered up... New acoustic technology in America
can isolate sounds. So when you stand at a certain point in the mirror, you'll be able to hear the voice of the person standing by the mirror in France -
but only at an exact spot in the mirror. Move just a centimetre and the sound will disappear."
Link to Autogena's Sound Mirrors Project
EXHIBITION NIGHT
04/09/06 01:38 Filed in: installation
All in all, including the half a dozen power
shortages
due to the temporary system we had installed, and the
many kids taking over my whole games installation and showing
their dads a thing or two, and the fact that had I the hindsight to make all
works coin-operated I would of amassed a small fortune during those few hours..
All in all everything went according to plan and looked sweet as....
due to the temporary system we had installed, and the
many kids taking over my whole games installation and showing
their dads a thing or two, and the fact that had I the hindsight to make all
works coin-operated I would of amassed a small fortune during those few hours..
All in all everything went according to plan and looked sweet as....
TANK FX
03/09/06 15:05 Filed in: sound
The project processes a sound file submitted by the user through an unused tank of 11 x 7 of reinforced concrete built in 1032 at the central station in Obenhauser (Germany.) By installing a linux server, some audio software, microphones and speakers right inside the tank, Tank-FX allows you to upload up to 60 seconds of audio material. It is played immediately in the water tank. The surface of the tank causes a particular reverberation which is picked up by the stereo mics. The reverberated version is recorded and mixed with the original one at a radio set that you can set in advance. The outcome is then converted in the desired output format for you to download and use.
The website is in german but there's an how to in english at FieldMuzik
There's some samples here
A work by German artists Sandro Catallo and Markus Cremers.
