[-empyre-] final questions for Patrick and Jason: the visual and indexing networked information
Johannes.Birringer at brunel.ac.uk
Thu Oct 29 07:02:44 EST 2009
thanks for this. Christina,........
[and i need to respond more, also, on your wonderful offer to schnitzel your video material......which i have not gotten to, although i did show your SODALAKE to the whole Scandinavian crowd at a panel in Oslo, and it behaved wonderfully....in spasm and in strange manners altogether unexpected)
this evocation of your sound project was very intriguing
and i wonder whether such soundworks can & could be discussed equally
here in regard to the networked books/writing questions, and the issues that
came up about infrastructure, density, collaboration/participation and delay.
how would be discuss it in regard to video/media works and shared editing or re/mashing?
to some extent, you are raising a challenge to the methodologies of composition ( i just attended a seminar on Cage/Tudor and their relationship)
and use of softwares and generative syntax, and perhaps there are other examples available where this worked for partners and for interpreters/users or
I encountered an interesting project at this year's Subtle Technologies meeting in Toronto (http://www.subtletechnologies.com/)
perhaps you all know this, but i mention it here:
Julien Ottavi spoke about the " BOT: virtual networked lab" (Collaborative online platforms and networked audio practices) and "APO33" -
describing the ideas and mechanics behind BOT, a virtual networked lab that allows us all to explore collaborative online platforms and created networked audio practices.
I add Ottavi's own description below, but what I found most fascinating was that he now connects various studios of various people in diverse places with one another (via ongoing streaming / network), taking real actual existing or happening sounds from the places and combining them into a form of (Cagean)"silence" or music, transforming the sounds or providing the patches with which each "provider" of their room sound also becomes a listener of this kind of inter-networked-geographic sonic fugue..... of many many many rooms.........
BOT makes up a virtual community, in the continuation of the POULPE project, with a view to assemble a collection of entities in one location in order to diffuse their production to many more places. They stand for a new approach to digital phenomena : networks, multi-motionless geolocation, interconnection of on-line produced or processed data, automation in the treatment of reality and, especially in the case of BOT, sites for experiments, always accessible from anywhere.
A machine always depends on external elements in order to keep existing. Not only does it act as complement to the man who builds, activates or destroys it, but it asserts its difference from other machines real or virtual, non-human, a proto-subjective diagramme. - Guattari
There is a machinic side to BOT, a call for inter-dependence, for relations and discussions between heterogeneous elements, that has as much to do with the way reality is split and reproduces itself (as in a utopian language of an electronic diktat), as with the way we confront the otherness, through our body, our actions, our activity and our environment (urban or natural). BOT must be seen as long term constructions of a living and spreading machine network; BOT spread from city to city, from countryside to mountains, they invade our living spaces, cupboards, offices, balconies
Everybody can eventually participate in a BOT, create one and connect it to the community at large, and thus fertilize it, feed it, accompany its development, teach it, make it more autonomous, more or less social, possibly even humanize it? A Bot is an excrescence of reality.>>
From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of naxsmash
Sent: Wed 10/28/2009 6:24 AM
Subject: Re: [-empyre-] final questions for Patrick and Jason: the visual and indexing networked information
no, i think that the sound space/ sonification field is far from
narrow-- it's not obscured by the visual-- sound cuts 'below'
vision... thanks for sharing the links here for turbulence's sound
I had a strange and powerful 'turning away 'from the visual experience
in working with carbon sink data on the tallgrass prairie in 2002--the
most rich and interesting expression of the datafields was through
sound using an extra layer of
meaning/ stealing-- from John Cage-- This was slipstreamkonza which I
made with the wonderful and amusing help of Henry Warwick (mister H W
of -empyre- postings). For my part I feel the most interesting issues
in sonficiation have
to do with poetics and syntax (as usual in my world)!Rather than
'visualize' the data I just put together a slide show of the
microclimate instrumentation on the prairie. To contextualize the
sound. In no way was the sonification intended to
directly represent the carbon data; rather Henry and I worked with
three layers of sound-meaning -- a recasting of Cage's HPSCHD, local
ambient sound recorded as the microclimate 'autochamber' machine
worked in the field, and aleatory noise
patterns coming out of Henry's crunching of the excell spread sheets
and assigning arbitrary audio values to numerical patterns. Published
for COSIGN, SCALE (USCD) and YLEM in 2004.
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