[-empyre-] final questions for Patrick and Jason: the visual and indexing networked information

Sat Oct 31 12:33:34 EST 2009

Hi Johannes ,

> 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)
>
I had suggested to Johannes that he and his dancers could choreograph  
a live mashup of this film, special thanks to Pauline Oliveros for  
"Ghostdance: Ultima Vez' (Deep Listening ASCAP))

http://vodpod.com/watch/2396669-soda-lake-unbound-by-christina-mcphee?pod=x0y1

which is also just now screening at the XOy1 conference on gender and  
cyberculture at Barcelona (thanks to Dr  Remedios Zafra)

I just thought that in a sense the project Sodalake Unbound is about  
re-un-mixing my own knotty nexus of naxsmash and releasing its  
energies into a live dance lab -- i  imagined that there could be  
sensor-enhanced
movements by the dancers to re-draw the frame rates.  like some kind  
of human mpeg decompression..... I thought of this after Johannes  
wrote an interesting choreographer's reaction to this film, see his  
comments  and the footage here

http://vimeo.com/5766529
>
> 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.

I think so . I have been working for awhile on 'latency' . as Pamela Z  
says ("a delay is better')
>
>
> how would be discuss it in regard to video/media works and shared  
> editing or re/mashing?

well I think that's a great topic for -empyre- for a new month in 2010.
>
>
> 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
> audiences/"readers"/'listeners" ?

yes, surely ... I think this kind of generative syntax-ing does come  
from Cage and Merce Cunningham and from the 'scoring research' of Anna  
Halprin and her husband Lawrence in the sixties-- and probably there's  
similar Tropicalismo activity in Brazil during the same period, I dont  
know about it though and would love to hear from anyone who does, like  
Lucio Agra or Sergio Basbaum perhaps.    Judith Rodenbeck has edited a  
fascinating group of articles about Anna and others in the summer 2009  
Art Journal,
see especially Janice Ross, "Atomizing Cause and Effect: Ann Halprin’s  
1960s Summer Dance Workshops"  http://www.collegeart.org/artjournal/summer2009

>
>
> 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.

wow that sounds promising. is the BOT a kind of CGI interface/software  
tool?
>
>
> 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.>>

but i guess I 'm not sure i want to become a mom of BOT.

I am much more interested in humans choreographing , 'de- 
appropriating' (Bruce Tomb, artist of another DAP (DeAppropriation)  
project ) than in developing nursing regimen)(ts) for bots.   Too much  
cooking and cleaning.

public spaces to be de-programmed, formal syntaxes of an art project  
to be de-appropriated, this interests me.     http://www.journalofaestheticsandprotest.org/6/lovetowe/aimeeleduc.html 
   Thank you Aimee le Duc!

or sometimes reprogammed movement using exogeneous source syntaxes ,  
like Geri Wittig's 'Great Wall of California."

An example of this I found today, thanks to getting a link from Jaime  
Iregui,  is this soundspace archive from central Bogota.  Beautiful:  http://museofueradelugar.org/?p=367

>
>
> (cited from)
> http://www.subtletechnologies.com/2009/?page_id=224
>
>
> with regards
> Johannes Birringer
> DAP  Lab
>
>
> -----Original Message-----
> From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of naxsmash
> Sent: Wed 10/28/2009 6:24 AM
> To: soft_skinned_space
> 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
> projects.
> 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.
>
>
> http://www.christinamcphee.net/slipkonza/autochamber.html
>
>
> -cm
> O
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