[-empyre-] Introducing Angeliki Diakrousi and Cristina Cochior

[Daniel Lichtman]

Thanks so much for these thoughts, Angeliki! Especially the comparison with
View Recent Changes, one of the other projects from this program.

Just to clarify the last question, I meant, in the 'a warped stream'
graphic, under the pre-recorded sound, what determined the path of the blue
lines that connects the different sound recordings (I would embed a
screenshot here if the list allowed for it :) ). For me, those lines really
highlight the amorphous and flexible quality of the narrative produced by
this collaboration.



On Thu, Dec 10, 2020 at 11:12 AM Angeliki Diakrousi <diakaggel at gmail.com>
wrote:

> Hello,
>
> Thanks for your questions Dan! Nice to see your interpretation of TRZ. I
> respond from my side (inviting Cristina to continue the thread:)):
>
> On Wed, 9 Dec 2020 at 05:54, Daniel Lichtman <danielp73 at gmail.com> wrote:
>
>> Dear Cristina and Angeliki,
>>
>> Thank you so much again for sharing Temporary Riparian Zone with the
>> empyre community! Here is the link to the TRZ project page:
>> http://accumulations.online/trz.html
>>
>> I've just been listening to some of the recordings in the bottom half of
>> the Temporary Riparian Zone interface, which is embedded on the
>> Accumulations page. I find it thrilling (to be blunt!) to trace the
>> connections between these recordings, streamed among the group of
>> geographically remote workshop participants. The meandering connections
>> between these audio fragments link, however abstractly, the diversity of
>> cultural, political and environmental contexts in which each participant
>> made their contribution, not to mention each participants'
>> creative interests and mood at the particular moment of recording.
>>
>
> *Thanks for highlighting the temporal, geographical, political and
> cultural dimensions. Even though the workshop lasted for only 3 hours it
> was enough time to be lost in meandering and listening/reading each other,
> grasping fragments of our contexts and our selves. For us it was an
> experiment and I didn't realize, until we did it, how these contexts
> intervened into the process (in matter of internet connection, time zones,
> familiarity with online streaming, sounds from our environments, different
> browsers experience etc). *
>
>>
>> This reminds me of the way several parts of the View Recent Changes
>> project (http://accumulations.online/recentchanges.html), presented
>> earlier this month, associated groups of images, text fragments, graphics
>> and categories of information with one another -- sometimes by large
>> numbers of participants contributing fragments of narrative or poetry,
>> sometimes by machine intelligence and sometimes by other, distributed
>> means. It also reminds me of Agustina Woodgate, Stephanie Sherman and
>> Hernan Woodgate's project RadioEE (https://radioee.net), which was also
>> presented at Hackers and Designers 2020. Radio EE is a nomadic radio
>> station that presents 24 hour long audio broadcasts from locations around
>> the world. For each project, networks of local cultural producers
>> contribute content using a variety of analog and digital streaming
>> technologies, which is then broadcast to an international listening
>> community.
>>
>
>
> *I am very interested in the these dimensions that you've mentioned and
> also RadioEE is dealing with. I have been following their amazing work and
> indeed TRZ has some similarities that I would love to explore further. I
> have participated in one of the RadioEE 24h streams called Wireless
> (https://radioee.net/event/wireless/ <https://radioee.net/event/wireless/>)
> as part of Varia together with Fanfare, and jajajanenene (collectives in
> Rotterdam and Amsterdam) and it was so exciting to experience this
> simultaneity, at the same time delay and non-concurrency, of analogous and
> digital media, multiple ports, multiple cities and time zones. In both
> cases streaming becomes a manifestation of the geographical, cultural and
> political structures depending on: where does broadcasting happen, where is
> the server located, who is connected with whom, where are the clients
> (computers connected with the server), do broadcasters/listeners use VPN,
> who has control, what is the legal situation on streaming and internet for
> each country, what is the situation and mood of the participant/guest and
> other factors. *
>
> *View Recent Changes embraces the fragmentation of human, animal,
> machinic, digital reality very nicely. Also it shows poetically that
> relations between these realities can be incomplete. I find interesting the
> temporal difference between this project and TRZ. The first has this
> accumulation of material in a wiki platform which can be an archival space
> and different editors can add/edit gradually, in a long period of time,
> through writing. And the latter was made to be live and short in time. But
> somehow because of writing in the pad and documenting the recordings from
> workshops in the interface it shares similar ways of accumulating fragments
> of thoughts and relations.  *
>
>
>>
>> Each of these projects create an interface for connecting and associating
>> disparate elements together into an (at least sort of) cohesive narrative,
>> though not one authored by any individual.
>>
>> Can you guys tell us a little bit about the process of participants
>> streaming to one another? How did discussion on Etherpad lead to this group
>> of recordings? And, most interesting to me, how were the connections traced
>> between recordings, so nicely presented in graphic form on the interface?
>>
>
>
> *We had a moment of introducing ourselves in couples by listening to each
> other when the writing in the Etherpad and the set up of butt (stream
> client) was over. Each of us was listening to the stream of another person
> and introducing ourselves in turns. It was the first time that we would
> hear the voice and the sounds of the room of somebody else. The delay was a
> fun part and sometimes in order to know when it is time to talk we were
> communicating in the pad. Then we prepared recordings that streamed live
> through our mount points to the rest, by using narratives from the texts we
> wrote combined with sounds we created on spot. *
>
> *I am not sure if I understand correctly your question about the
> connections traced between the recordings but something that comes in my
> mind is that as we were using one computer mostly, the input and output was
> in the same source. So sometimes if I would listen to one stream and
> recording/streaming simultaneously my sounds then my recording would have
> fragments of the recording of others. I find this restriction fascinating
> cause it makes us aware of audio 'events' in the computer and our
> involvement in them. Then somehow the one audio was included in the other. *
>
>>
>> Feel free to respond to any / all parts of this email!
>>
>> Looking forward.
>>
>> Dan
>>
>
> Best,
> Angeliki
>
>
> --
> *~A~*
>
> *w-i-t-m.net <http://w-i-t-m.net>*
>
>
>
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