hacked raven input @ qujochoe website

http://www.qujochoe.org/hub/?p=259

Dan Sandin's 2001 Ars Electronica article

http://www.aec.at/en/archives/festival_archive/festival_catalogs/festival_artikel.asp?iProjectID=8239

EVL: Alive on the Grid

Dan Sandin

Networking, sound and interaction are all key elements of Dan Sandin’s EVL: Alive on the Grid (Electronic Visualisation Laboratory), a collection of virtual art worlds where local and distant participants alike can interact in shared virtual spaces.

Enabled by the Grid—collections of networks, computers and virtual reality displays that span the globe—users of this unique media can “virtually” interact with one another—and the models contained within each piece. Displayed in a CAVE—a four-wall, theater-style virtual reality environment—users don lightweight head and hand trackers and access the worlds through a virtual atrium, where they encounter visitors from around Europe and the U.S. Through their virtual representative, or avatar, users can navigate and interact with others in real time. Each visitor’s avatar, identifiable by a photorealistic 3D face, is able to create and alter the virtual worlds they visit, leaving “ghosts” of themselves for others to view. All of the worlds are persistent, which means they continue to grow and collect information from remote participants on the Grid even after festival users leave the environment. All of the CAVE pieces were created using Ygdrasil (YG), a system for authoring networked virtual environments developed by Electronic Visualization Laboratory (EVL) Ph.D. graduate Dave Pape. Ygdrasil provides a shared scene graph to automatically connect distributed virtual elements and users, and uses a high-level scripting layer and plug-ins to easily assemble environments from existing components. It is an extensible system, based on EVL’s CAVERNsoft and the commercial software OpenGL Performer. It is available at . Dan Sandin, co-director of Electronic Visualization Laboratory (EVL) at the University of Illinois at Chicago, co-invented the CAVE in 1991, and brought it to the Ars Electronica Center when it opened in 1996. Since then, EVL has concentrated on the development and deployment of networked virtual reality, that is, VR worlds that distantly located people can view and change in real time. Sandin curated this collection of networked virtual environments created by students of the EVL and the following participating sites:

Electronic Visualization Laboratory University of Illinois at Chicagowww.evl.uic.edu

Interactive Institute—Tools for Creativity Studio, Umea, Sweden
www.interactiveinstitute.se/tools/

State University of New York (SUNY), Buffalo
Center for Computational Research and the Department of Media Study
www.acsu.buffalo.edu/~jranstey

C3 Center for Culture & Communication Foundation, Budapest, Hungary
www.c3.hu/

Indiana University / H.R. Hope School of Fine Arts / University Information Technology Services / Advanced Visualization Laboratory
dolinsky.fa.indiana.edu

V2 Lab/V2 Organization Institute for the Unstable Media, Rotterdam,
collaborating with the Technische Universiteit Eindhoven (TU /e) and Stichting
Academisch Rekencentrum Amsterdam (SARA), The Netherlands
www.v2.nl/ ; www.tue.nl/ ; www2.sara.nl/

SUPER SPECTACULAR

Tim Portlock

Super Spectacular is an immersive virtual-reality environment that presents different spectator arenas for users to interact: sports stadium, art gallery, corporate outreach and others. Each specific person who journeys through the environment creates a unique trail of footprints that may persist for several executions of the application.

LOOKING FOR WATER

Dan Sandin
In this networked virtual environment, the user perspective begins in outer space, surrounded by sun and Earth images based on real-time satellite information, than falls to Earth and lands on a northern Lake Michigan archipelago of islands. While exploring these islands, from Death’s Door to the Garden Peninsula, the participants share a watery experience. The satellite images are an animation of actual Earth and sun weather data collected over months using the web. The images are updated daily to form a 3D visual history. The 3D models of the archipelago of islands are based on video images taken while kayaking. The 3D information has been extracted from the moving video images to allow participants to move about and explore these worlds. In the end, the world dissolves into moving water.

PAAPAB

Josephine Anstey, Dave Pape, Dan Neveu
PAAPAB is a networked virtual dance floor with a steady dance beat. The user joins the dance by selecting one or more life-sized puppets whose movements mirror that of the user’s body movements through a simple motion capture system. As more users join in the dance, the floor gets more crowded. The CAVE is equipped with a tracking sensor for the user's head and either one or two arms. PAAPAB uses this data to create the puppets’ realistic dance motions. Each puppet shape varies, and the trackers are mapped to their body parts in different ways. Hence, the users may move their arms while the puppet moves its legs, tail or wings. Over time, a diverse group of animated puppets inhabit the virtual dance floor. At each networked site, a local heartbeat keeps the dancers and the dance floors in sync with one another.

INFINITE STUDIO

Todd Margolis
Infinite Studio is a new paradigm of “art-making," that allows the user to create, in real-time, interactive virtual reality artwork from inside a virtual environment. Using a color palette and several drawing and modeling tools, the user can create and modify virtual objects for any effect desired. Individuals can also collaborate across the network to create group constructions. The scenes can be easily scaled, rotated or moved from one part of the world to another, thereby changing focus or eliminating elements. Every line drawn has a lifespan causing the entire art piece to constantly evolve.

LA BOÎTE

Marientina Gotsis
La Boîte is a networked virtual environment where visitors are invited to see short dance performances on video screens. In the virtual dance studio, visitors can view brief performances, then try to imitate them or leave their own traces of a performance. The piece places some emphasis on classical ballet training and the importance of the geography of the classical dance studio. This project was inspired by a decade-long friendship, and our mutual love of dance, performance and technology.

DREAMBOX

Beth Cerny, Alex Hill, Ya Ju Lin, Brenda López, Todd Margolis
The Dreambox project is a collaboration between digital media artists and scientists to create a dynamic virtual environment that reflects the subconscious meaning of symbolic objects arranged in space. It has long been held that humans consistently recognize and internalize the meaning of certain primal symbols, the so called archetypes. In an effort to gain insight into the minds of their patients, psychiatrists developed a technique through which physical artifacts are used to create scenes in a box of sand. This technique, called sandtray analysis, seeks to gain insight into the workings of the subconscious mind by interpreting the arrangement of these archetypal symbols by the conscious mind. Each of the artists in the Dreambox project has developed symbolic objects for placement in a virtual environment. The Dreambox user begins by arranging a scene with the available objects in a virtual sandbox. Unlike the static physical objects of a sandtray, Dreambox objects respond to their arrangement dynamically. Based on their relative proximity, the Dreambox objects take on an array of different manifestations and behaviors. A key next to a boundary may create an opening, yet a house next to a boundary may form a prison, while a house next to a key may evoke a church. Through the use of tele-immersive collaboration, each user entering the world is invited to make a personal contribution to the Dreambox experience. Each participant then becomes a Dreambox object in the world, taking on attributes and influences in line with their changes to the arrangement of the scene. And, as users enter and make their contributions to the evolving state of the Dreambox world, a deeper shared meaning develops for all to see.

SYN.AESTHETIC

Geoffrey Allen Baum, Keith Miller
syn.aesthetic is a virtual-reality environment where a 3D score is created by the sonic input of the participants. This “objectified” sound manifests as a visible, virtual object that maintains the location, dynamism and organic qualities of the audible sound, but persists beyond the lifetime of the sound. Participants are able to create their own sound sculpture by adding and deleting sounds. Each user leaves their own trace in the space, contributing to a larger sculpture, or score, representative of the collaborative effort of all participants over time. The disconnect between sonic creation and visual composition is intended to lead to a new kind of creation possible only in this kind of environment—a living sculpture, where sound is the physical material and the material is ethereal.

THROUGH THE LOOKING GLASS

Josephine Lipuma
This networked virtual reality CAVE application explores a wonderland inspired by Lewis Carrol’s popular story. The VR artist lures the visitor into making the environment his or her own fantasy realm by rearranging it. Rows and rows of blue mushrooms appear everywhere for the visitor to pick. Forty-foot rabbits appear and disappear, and self-portraits of the artist as a bluefaced spirit or a crazed, yellow-haired Alice character with a Cheshire Cat-like grin randomly pop up. An original vocal and string arrangement provide an eerie accompaniment to this mesmerizing environment.

EXCAVATION

Petra Gemeinböck, Joseph Tremonti
Excavation is a networked virtual environment that explores the surface of historiography. Excavation immerses its visitors in a metaphoric archaeology of encounter, in which their presence engenders temporally unique and continually adaptive sets of relationships between the networked participants, the fluctuating anatomy of the metaphoric landscape, and its multitudinous inhabitants. These inhabitants constitute a subjective aggregate of modern history as captured and conditioned by the technological apparatus of post-industrial society. Alive on the Grid, visitors are recorded and become virtual inhabitants extending and recontextualizing the history of Excavation.

HOME

Drew Browning, Annette Barbier
Home is an interactive, navigable virtual-reality environment that explores ideas about swelling and its relation to the psyche. In it, a house abandoned by its owners is up for sale. Half-empty spaces still reverberate with memories and the most private moments of its previous inhabitants. Deceptively normal looking from the outside, spaces stretch and break apart and walls fall away once you are inside, leaving only a small plateau hanging in emptiness, resounding with the lives and voices of those who still haunt it. The rooms and hallways include a soundscape composed of spoken narrative fragments and a musical ambient score. Immersants may encounter the ghostly presence of other voyagers in the space, and may leave a recording of their voice for future visitors.

Drew Browning and Annette Barbier, major artist/designers
Geoffrey Allen Baum, programming and VRML-CAVE conversion
John Loesel, composer
Dave Tolchinsky, screenwriter
Reid Perkins-Buzo, technical assistant
Sam Ball, theatrical consultant
Voices: Linda Gates, Delle Chatman, David Downs, Rives Collins, Molly Sullivan, Dan Brintz
Contributors: Melinda Levin, Karla Berry, Barbara Bird, Art Nomura, Michelle Citron, Paul Hertz, Ondrea Delio,
Laura Kissel, Harlan Wallach, Deb Diehl, Shawn Decker, Diane Hagamann

proposal for chicago-performance

Sandin - CAVE as another connection between Chicago and Linz? and use the Sandin image processor. what do you think?

more theory and archiving

see: http://mediaarthistories.blogspot.com/

thoughts for next steps

for a future project (if you'd like to continue) i'd love to have compressions techniques as a topic for the visuals. like we already found out during the first project, different compression algorithms will produce different effects when used in pd, that there are no glitches when we used QT (sorensen 3), but a lot of glitches that respond to the changes in music with avi (divX 5.0.2).

"Different compression algorithms have different artifacts, some of them are apparent in the first generation, and some of them take many generations to appear. Some artifacts effect the detail within the image, and some effect the apparent motion of the image."
http://www.vidipax.com/digirecon.php

fotos

http://www.flickr.com/groups/hackedraveninput/

projection

SONG 2: [SKYPE] SINGSPIEL SCRIPT

// @ ABOUT 1:45 PM CHI TIME/8:45 PM LINZ TIME

// jC CALLS JAKE
// JAKE ANSWERS

JAKE:

to -THE VASULKAS INC .
pages -
Vienna, 27 .3 .1992
Dear Mrs . and Mr. Vasulka!
Dear Mr. Wilson`
i
Thank you for the first information about your preliminary program for the exibition in Linz . We are happy, that we hake the possibility to work on this exhibition . At first may be a new information for you : The exhibition contains bejond your pieces also three instalations by Peter Weibel, Jeffry Shaw and Agnes Hegedus. These three objekts need the space o ¬ two or three rooms. On that account we have to work on new partition of the showFooms . As soon as we have further informations, we will forward it .

// NINA CALLS JAKE
// JAKE ANSWERS

NINA:

Dear Peter,
We just received the draft of the contract from Katarina this morning . After reading the draft and discussing it with our team we came to the conclusion that the conditions are too unreasonable to accept, it almost looks that somebody does not want this show at all .

// JAKE CALLS jC
// jC ANSWERS

JAKE:

Dear Woody and Steina Vasulka,

concerning the exhibition on pioneers of the electronic arts at Ars Electronica 92 we are very happy to have you curating the show . I would like to inform you, that Gottfried is going to leave the ARS and me and Brigitte vasicek will do the artistic management with Peter Weibel as artistic director . Peter Weibel and me are planning to come to the US within the next month to meet you for discussing the whole concept, Before all we now would need very urgently the names and adresses of the artists/inventors you intend to invite . We also have to find all devices and machines for the exhibition and probably have to arrange dates, contracts and so on .

Peter Weibel to The Vasulkas,
I confirm here that The Vasulkas have my personal guarantee that the total budget of 65,000,--$ for the planned show at Ars Electronica will not be scaled dov;n . Since The Vasulkas are not an institate it cannot be expected that they pay enormous sums in advance in behalf of the project . Therefore it is agreed that everything is paid in time for the benefit of the project . Just 10.000,--$ are kept back to the moment of the arrival of The Vasulkas in Linz, June 9th, it is also agreed that the traveling and hotel costs for David MUller and The Vasulkas are paid extra by LIVA .

jC:

Dear Katharina,
On Sunday, February 9, 1992, Peter Weibel called to inform us that there would be a deposit into our account on February 10 for the amount of $40,000 .00 so that we could proceed with the exhibition for ARS ELECTRONICA . We have contacted our bank and there has been no deposit . The Bank of Santa Fe also indicated that it cannot accept ATS . We are happy to accept ATS exchange rate but our small town bank can only receive US Dollars by wire . Please note that the conversion from ATS to US_ Dollars must be done by the Austrian bank . As we have indicated, we can no longer work from our own resources on your project . We are stalled until funds arrive .
Sincerely,
/ A~--A~--MaLin Wilson
Exhibition Coordinator

// NINA CALLS JAKE
// JAKE ANSWERS

NINA:

I hoped it would not come to this . . . I admit, our communication has not been very good, but as you, we have been terribly busy, I just came back from Iowa city after backbreaking packaging job . I can see now, there were different perception of this project right from the beginning, I was totally absorbed by the very specific theme and the logistics of the project and might not been sensitive to the other possibilities specially those, coming at the last minute . But what has surprised me the most is your lack of confidence in us being able to carry this project through all stages, including all phases of the preparation and production of the catalog .

But there seem to be much deeper problem here, which is the problem of the credits and other authorships and job definition .

// jC CALLS JAKE
// JAKE ANSWERS

jC:

So fare, we have been quite unsuccessful in convincing you about the urgency in receiving at least the first down payment on the catalog . We must get you attention immediately, this is not the time for us to thing about possible emergences . You have been quite aware of the situation and your fax from May 23 states that clearly . I would be unethical and frankly impossible for us to proceed with "the business as usual" in dealing with our associates here without knowing the seriousness of your commitment . In, reading your latest Telefax i finally realized how unconcerned you are about our difficulties . You were introduced to us by Peter to be a bright and able person and we always assumed that your priority is to facilitate the success of the show . It is very disheartening, that at this critical stage of the project, that we are forced to questioned your commitments of this last and an additional stage of our project, which again we negotiated in a good will and trust .

JAKE:

kindest regards Regarding the catalogue money, we have to tell you, that we cannot transfer any more money to you as there doesn't exist any further contract with you, than the one which says that the edition of the catalogue is included . For the catalogue-production we need invoices from a printing company or whatever, which we can pay directly . So please tell the companies you are cooperating with to send us the invoices . Awaiting you here in Linz i send you my kindest regards

jC:

Your contract differs radically from the agreement reached between the Vasulkas and Peter Weibel by telephone on February 9th_ Be assured that we will only consider contracts that also carry the authorizing initials of Peter Weibel .

// NINA CALLS JAKE
// JAKE ANSWERS

NINA:

And finally, please note that there is an outstanding fee of $2,000 still owed to Mr . Phil Morton, originally negotiated by Ms Gsollpointner outside of our budget as you will find the correspondence faxed on May 6th 1992 . His address : Phil Morton Box 987 West Yellowstone, Montana 59758 Tel : (406) 646 7519 Thanks again for giving us this great opportunity to work on such an exciting project and we hope to continue working on your permanent and equally exciting collection for your new Ars Electronica building in Linz .

Dear Peter

Right now we are stuck because we have not received your article and every day that goes by reduces the chances of even coming close to the deadline . If we can put your article at the end than we can proceed immediately .

May 20 1992

// JAKE CALLS jC
// jC ANSWERS

JAKE:

you've already received the limit of the budget . Besides that we covered your US fltghts , all assistants and travel and lodging for David Jones . AS i could only go through the latest budget situation this week ( which is very on the edge), it is noz possible for me to trensfer any more money to you, Even if I tried, the financial department would not do it .

I told Peter about the situannon, so it you want to get in touch with him concerning this situation, please do it .

we also need a photographl(polaroid) of every theinsurance company until middle of may . Kindest regards

Letter of clarification Linz, April 2, 1992 LIVA Linzer VeranstaltungsgesellschaftmbH, Untere Donaul&nde 7, A-4020 Line, declares that it will take over the costs for insurance and transportation of the machines listed by Vasulkas Inc . i n their letter from March 20, page 2 thru 6, which will kindly be provided by artists and institutions to Vasulkas Inc . t o be shown at the festival in Linz (dune 22 thru July 5, 1992) . The period for the insurance lasts from May 4 thru the day of the machines' return after the exhibition . The insurance includes the way from Iowa City, USA, to Linz , Austria and back to the places listed by Vasulkas Inc .

setList scores as text (draft)

PRE

V: raven flying video

SET

1. Siegfried Zielinski's re:place Manifesto: re-enact by re-typing

instruments: [QWERTY keyboardist] , [Soundcraft SPIRIT E8 10 channel mixer], (JBSYSTEMS COMPACT DJ style mixer as) [no-input mixer], [MacBook Pro]

audio/video score as text:

Nina A: contact mic'd [QWERTY keyboardist] in to [Soundcraft SPIRIT E8 10 channel mixer]
Nina V: FontCreator GUI
jC 00 A: RCA output of [MacBook Pro] video signal of Zielinski fotos/video as raw data in to no-input mixer] CH 1 Phono
jC 01 A: [no-input mixer] crossfader: Rec Out to CH 2 CD/Line
jC 02 A: rewire [no-input mixer] w/CH1 CD/Line in from PHONE out
jC 03 A: rewire [no-input mixer] w/MIC IN contact mic kissing PHONES contact mic
jC 04 A: attain ping pong

Nina V: FontCreator GUI font size decreases
JC 05 A: tweak thresholds as font size decreases
Nina V: switch fonts to readable text
jC 05: turn down Contact mic'd [QWERTY keyboardist]
Nina V: print copies (as many as ppl @ pform)
Nina A: contact mic printer

2. Ars Archive via Vasulka Archive: realtime raw data processing + re-enact via Skype Singspiel: realtime raw data processing

instruments: [Skype], [Soundcraft SPIRIT E8 10 channel mixer], [JBSYSTEMS COMPACT DJ style mixer] (as) [no-input mixer], [MacBook Pro]

jake: [Skype] Singspiel as Peter Weibel, Katharina Gsollpointner
Nina: [Skype] Singspiel as Woody Vasulka

jC: [Skype] Singspiel as Steina, MaLin Wilson

Nina V: EdA_part2.avi in PD/GEM

CHI Hard Switch to jC

jC V: EdA_part2.mov 0:01:28;00

jC 00 A: audio output of [MacBook Pro] of corresp.pdf raw data

jC V: [Skype] call to jake

jC 01 A: jC V: [Skype] call to jake

3. Vasulkas + Linz/Chicago archives: realtime raw data processing (guitar solo)

instruments: [guitar] , [Soundcraft SPIRIT E8 10 channel mixer], [JBSYSTEMS COMPACT DJ style mixer] (also as) [no-input mixer], [MacBook Pro]

Nina: contact mic'd [guitar] in to [JBSYSTEMS COMPACT DJ style mixer] CH 1 Phono
jC 00: [no-input mixer] Rec Out to CH 2 CD/Line, [Matrix ACOUSTIC GUITAR TUNER PICK-UP] attached to [guitar] in to [JBSYSTEMS COMPACT DJ style mixer] MIC IN
jC 01: rewire [no-input mixer] to: [JBSYSTEMS COMPACT DJ style mixer], audio output of [MacBook Pro] of Vasulkas + Linz/Chicago archives as raw data, in to [no-input mixer] CH 1 CD/LINE
jC 02: accelerate raw data processing/playback

videos used in performance

after theory part (video + as shown by pd/gem)
































transition between song 1 and 2 (started on vaio, Chi hard switch to mac)












in song 3, while playing the guitar

first rehearsal - theory part

fingers are taped with contact mics; text written in size 200; when finished, let text get smaller (to about 13pt); text finished in abc1:














switch to other/readable font; we use the print option, look around how many people are in the audience and print out the theory; while printing, we'll attach the contact mike to the printer















close preview, fontcreator shows up (fullscreen)














underneath it, pd is running all the time; so we can just switch from one prog to the next; the video we are running is one from our first patch tests, looks like a live stream from the schleppi

encoding source videos

encoding videos in After Effects,












then rendering a divX 5.0.2. in virtualdubmod
(for some reason, we couldn't export the divX directly from After Effects)












testing the videos with jake's pd patch

song 1314StreetNYC

vid-patch-02.pd testing

electrocute guitar theorypractice video

song 3 score (draft)

3. Vasulkas + Linz/Chicago archives: realtime raw data processing (guitar solo)

instruments: [guitar] , [Soundcraft SPIRIT E8 10 channel mixer], [JBSYSTEMS COMPACT DJ style mixer] (also as) [no-input mixer], [MacBook Pro]

Nina: contact mic'd [guitar] in to [JBSYSTEMS COMPACT DJ style mixer] CH 1 Phono
jC 00: [no-input mixer] Rec Out to CH 2 CD/Line, [Matrix ACOUSTIC GUITAR TUNER PICK-UP] attached to [guitar] in to [JBSYSTEMS COMPACT DJ style mixer] MIC IN
jC 01: rewire [no-input mixer] to: [JBSYSTEMS COMPACT DJ style mixer], audio output of [MacBook Pro] of Vasulkas + Linz/Chicago archives as raw data, in to [no-input mixer] CH 1 CD/LINE
jC 02: accelerate raw data processing/playback

song 2 score (draft)

2. Ars Archive via Vasulka Archive: realtime raw data processing + re-enact via Skype Singspiel: realtime raw data processing

instruments: [Skype], [Soundcraft SPIRIT E8 10 channel mixer], [JBSYSTEMS COMPACT DJ style mixer] (as) [no-input mixer], [MacBook Pro]

jake: [Skype] Singspiel as Peter Weibel
Nina: [Skype] Singspiel as Woody Vasulka
jC 00: [Skype] Singspiel as Steina, [no-input mixer]
jC 01: audio output of [MacBook Pro] of Ars Electronica via Vasulka Archive

song 1 score (draft)

1. Siegfried Zielinski's re:place Manifesto: re-enact by re-typing

instruments: [QWERTY keyboard] , [Soundcraft SPIRIT E8 10 channel mixer], (JBSYSTEMS COMPACT DJ style mixer as) [no-input mixer], [MacBook Pro]

audio score as text:

Nina: contact mic'd [QWERTY keyboard] in to [Soundcraft SPIRIT E8 10 channel mixer]
jC 00: RCA output of [MacBook Pro] video signal of Zielinski fotos/video as raw data in to no-input mixer] CH 1 Phono
jC 01: [no-input mixer] crossfader: Rec Out to CH 2 CD/Line
jC 02: rewire [no-input mixer] w/CH1 CD/Line in from PHONE out
jC 03: rewire [no-input mixer] w/MIC IN contact mic kissing PHONES contact mic
Nina: contact mic printer; print as many copies as ppl @ pform

material needs 2008.01.14

for QWERTY keyboard solo:

2 female 1/4' to male 1/4' cables (@ least 3" long)
1 USB to PS/2 adaptor

for scores + set list on:

paper to write the scores + set list on

current set list (w/performance/production notes)

current set list:

1. Siegfried Zielinski's re:place Manifesto: re-enact by re-typing
2. Ars Archive via Vasulka Archive: realtime raw data processing + re-enact via Skype Singspiel
3. Vasulkas + Linz/Chicago archive: realtime raw data processing
4. Phil Morton on the Visual VGA Monitor Kick Drum Machine

performance/production notes:

1. Nina re-enacts Siegfried Zielinski's re:place Manifesto by re-typing it in experimental ABC Font v.05 + FontCreator GUI (QWERTY keyboard solo)
1A. Nina: contact mic'd QWERTY keyboard; jC: RCA output of Mac video signal, Zielinski fotos/video as raw data from Mac laptop, no input mixer
1V. Nina: FontCreator GUI

2. Ars Archive via Vasulka Archive: realtime raw data processing + re-enact via Skype Singspiel
2A. Nina: PD/GEM patch, no input mixer, contact mics, Skype Singspiel; jC: raw data processing Mac laptop, no input mixer, contact mics, Skype Singspiel
2V. Nina: VGA output of PD/GEM patch; jC: VGA output of raw data processing (switching sources via Chicago Hard Switch style)

3. Vasulkas + Linz/Chicago archives: realtime raw data processing (guitar solo)
3A. Nina: guitar, PD/GEM patch, no input mixer, contact mics; jC: Vasulkas + Linz/Chicago archives as raw data from Mac laptop, no input mixer, contact mics
3V. Nina: VGA output of PD/GEM patch; jC: VGA output of raw data processing (switching sources via Chicago Hard Switch style)

4. Phil Morton on the Visual VGA Monitor Kick Drum Machine (drum solo)
4A. sample of General Motors by Phil Morton
4V. sample of General Motors by Phil Morton

abc, v.05 - the final version

current studio setUp (hardware)

[guitar] +/or [bass] - output to -> [DJ style mixer]

+

[Mac] running GRID manipulation of raw data files (prepared in advance) - output to -> [DJ style mixer] + [FM transmitter]

[contact mics] + [no input cables] - output to -> [DJ style mixer]

[DJ style mixer] - output to -> [VAIO] running [PD/GEM patch] which controls video playback of various video files (prepared in advance)

[DJ style mixer (1, 2)] + [VAIO (3, 4)] + [contact mics? (5, 6, 7, 8, 9, 10) ] - output to -> [10 Channel Mixer]

[10 Channel Mixer] - output to -> [Speakers]

[FM transmitter] - broadcast to -> [de_luxe radio]

manifesto, reenacted in abc1

abc, v.01

created with fontcreator

some letters (G, H) are still missing,
also i'll have to refine the spacing.

workflow in fontcreator (after assigning the img) was:
- assign font family
- save font in fontfolder
- install font

the band

jonCates is Hans-guck-in-die-Luft
jake elliott is BLOODLEMON.JPG
nina wenhart is electrocute

puredata install notes

using this version: http://downloads.sourceforge.net/pure-data/Pd-0.39.3-extended.exe , 'pd-extended' which is a compiled collection of puredata & most community extensions, packaged by hans-christoph steiner.

got:

- wigs (2)
- beard (1)
... 50€

- stereoRCA to 1/4 inch adapters (2)
- RCA to 1/4 inch adapters (2)
- minijack to stereoRCA (2)
- fm radio transmitter (1)
... 50€

fontcreator (because the trial version wouldnt let me install the font)
... 96,50$

comp.keyboard
... 10,00€

todo: create tutorial on databending w/Soundhack

- organize existing tutorial materials
- use data to process/bend as examples
- document process w/text + images
- post to blog
- create document, i.e. tutorial on databending w/Soundhack

Phil Thomson on howto databend w/Soundhack

On Jun 13, 2004, at 12:36 PM, Phil Thomson wrote:
Go to the File menu and choose "Open Any..." Choose your data file and open it. It will bring up a dialog box asking you to change the header info. Click OK and go to Hack menu and choose "Header Change". Enter the values you want and click "Save Info". Then go to the File menu and choose "Save a Copy" to save it as a soundfile.

via {:::databenders:::} listserv
http://groups.yahoo.com/group/databenders/

4Rt cR4x0Rz

use:

"Hacking Open Together: New Media Art, Activism and Computer Counter Cultures" jonCates ++ jake elliott (2007)
http://www.4rtcr4x0rz.com/doku/doku.php

as raw data? as text? as intro? as lyrics for Skype lead singing VoIP ?

the band

setup:
bass, guitar, drums, keyboard, voice over IP

VGA outputs

for VGA outputs we use the Chicago Hard Switch style to physically switch the projector between multiple sources (the 2 laptops) rather than using a video mixer. when 1 is disconnected from projector, connect to VGA monitor kick drum.

sample quotes (audio from archives)

sample quotes (audio from archives)

- from Ars, i.e. "I'm not an airplane" - Charlotte Moorman, excerpts from podcasts of Ars Electronica Festival (as choosen by Nina)

- from Vasulkas (as choosen by jC)

- from Phil Morton (as choosen by jC)

+ process samples using PD (granulate? build a granular synthesis module into the patches used... build a sampler in also?)

working title of this section: "What You Said Sounds Great"

videos from ars

material i have:
- short project dokus
- long/short festival dokus
- long artist dokus
- ~16GB of fotos (festival, artists, projects,...)

can bring them on the datenpunk TB drive

do you want to see the list of materials, so that we can chose from them together?

Zielinski fotos on flickr

http://www.flickr.com/photos/ninawenhart/sets/72157603694474451/

Siegfried Zielinski's re:place Manifesto

Berlin, November 2007
retyped from foto

****

Manifesto re:place Berlin, Nov 2007

Investigations of Deep Time Relations A, S & T after the Media

- To the credit of the brave young Scottish geologist James Hutton and his "Theory of Earth" (1795): We do not accept a final layer of granite through which we cannot penetrate further in order to discover new constellations regarding A, S & T - "no vestige of a beginning and no prospect of an end" [Hutton].

- The question as of what came first, or which was first, is no longer a consideration. To answer it is a waste of effort and only serves vanity, which is a special form of power.

- We neither accept master media nor master disciplines to explore the tensional deep time relations of A, S & T.

Case studies of media processes & phenomena should at least be:
- ideologically open (VARIANTOLOGICAL, without an own DISCIPLINE)
- seismographically deep
- poetically dense (anyway, the least)
- experimental (as opposed to TEST)
- luxurious (lavish: this gives back to the present what history has stolen from it)
- going eastwards and southwards (at least for the next century the heterographic creatures and regions should give priority to the autotrophic ones).

Formulated with regard to image technologies they should be:
- projective (draft-oriented: going through history pointing in a forwardly direction);
- speculative (speculum: magical, reflecting, refracting light);
- imaginary (imaginative, fantastic);
- curious (investigative);
- brazen (without shame);
- full of illusions (risky, hazardous, illudre = to take a risk).

font #2

- use fontcreator
- open an installed font
- select a letter
- open tools/import image
- play around with the settings
- say ok at some point
- do the same with a couple of letters
- make the preview window as big as possible
- output monitor to projector
- type


actually, i will try to prepare images in advance next time, make them b/w, work on contrast, make them smaller etc.

but that could be one way to go for the performance

visual drum machine

we use the button bug and debug/fix it by kicking a drum kickpedal

jon puts in the image

theory part

reenacting theory by retyping it
therefor a font is developed
the font consists of fotos/videos
each foto/video is assigned to a certain letter on the keyboard, depending on the name of the foto/videofile

at quitch, we are reenacting Siegfried Zielinskis Manifesto, that he presented at re:place in November 2007 in Berlin

font #1

img2ttf, from Tsutsumi Hiroyuki
(http://www.bebits.com/app/4134#download)

img2ttf ver.0.03  2005.5.18


Function
 create ttf(TrueTypeFont) from image-files


How to use
 1. edit info-file.  (Refer to following)
 2. open Terminal
 3. type "img2ttf [-b] [-r] [-a0|-a1|-a2|-a3] [-wh|-wf] info-file img-dir"


About command-options
 -b without embedded-bitmap , output BeBitmapFont
 -r reverse image(white/black)
 -a0 if max_size<=16 , outline is faithfully generated to input.
 -a1 if max_size<=16 , outline is faithfully generated to input.(corner is round)
 -a2 outline is generated with old type algorithm
 -a3 outline is generated with new type algorithm(default)
 -wh all character is half-width
 -wf all character is full-width


About info-file
 refer to sample-file "test.inf"

 line 1  filename(output ttf-file-name ,  not font-name)
 line 2  vendor-name(4byte-ascii)
 line3-10 strings for name-fields of ttf-file
  Copyright notice,
  Font Family name,
  Font Subfamily name,
  Unique font identifier,
  Full font name,
  Version string,
  Postscript name for the font,
  Trademark,


About img-dir and images
 example
  img-dir/
  img-dir/16/    .....size=16dot
  img-dir/16/0000.img  .....error-character image
  img-dir/16/0020.img  .....' '(space) image
  img-dir/16/0030.img  .....'0'
  img-dir/16/0031.img  .....'1'
  img-dir/32/    .....size=16dot
  img-dir/32/0030.img  .....'0'
  img-dir/128/    .....size=128dot
  img-dir/128/0031.img  .....'1'
  img-dir/128/0032.img  .....'2'

 point-size ... 8<=n<=256
 image-file-name ... unicode + ".img"
 image-type ... targa,jpeg,,,etc. (supported translator)
 unicode0000-007f,ff61-ffdf ... half-width

 created outline from largest image
 embedded bitmap smaller than 33dot

 input this example
 output ttf is..
  outline ... create from
    16/0000.img
    16/0020.img
    32/0030.img
    128/0031.img
    128/0032.img
  bitmap ... create from
    16/0000.img
    16/0020.img
    16/0030.img
    16/0031.img
    32/0030.img


------------------------------------------------------------------
(c)Tsutsumi Hiroyuki
http://www.eonet.ne.jp/~hirotsu/

material needs

1/4 to 1/4 cable (x 2? 4?)

RCA (female) to 1/4 (male) adaptors (x 2? 4?)

kick drum pedal

...

10 Channel Mixer inputs

10 Channel Mixer inputs:

1. left channel output from Mac
2. right channel output from Mac
3. left channel output from VAIO (need 1/4 adaptor)
4. right channel output from VAIO (need 1/4 adaptor)
5. no-input loop through (need 1/4 to 1/4 cable)
6. no-input loop through (need 1/4 to 1/4 cable)
7. sucker mic (attached to VGA Monitor kickdrum?)
8. contact mic (attached to ?)
9. contact mic (attached to ?)
10. contact mic (attached to ?)

Question: How to introduce variance into audio (resulting from databending video as raw data)

Question: How to introduce variance into audio (resulting from databending video as raw data)

(possible) Answer: Perform databending/convert video files into raw data with Audacity. Export as AIFF. Create new copy of original Quicktime video file. Delete audio track. Open raw data AIFF in Quicktime. Copy AIFF. Select All in original Quicktime video file. Add to Selection and Scale. Save As Quicktime Movie. Resulting Quicktime video file will have original video combined w/raw data audio but raw data audio will now be time shifted to duration of original video file.

software

(running on MacBook Pro)

OS X (v. 10.4.10) operating system
SoundHack (v. 0896) for databending (audio + video generation)
Audacity (v. 1.2.5) for databending (audio generation)
Pure Data/GEM (v. Pd-extended) for video playback + raw data selection (?) control
Terminal (v. 1.5) for raw data output as Hex
QuickTime Pro (v. 7.1.6) for video playback
GRID (v. 2.0.3) for realtime manipulation of raw data, audio + video
Skype (v. 2.6.0.151) for realtime network connection, singer (?) + feedback

(running on Sony VAIO)

Microsoft Windows () operating system
Pure Data/GEM () for video playback + raw data selection (?) control

hardware

2 speakers + 1 subwoofer
10 channel mixer
iPod (80 GB) for data storage
MacBook Pro laptop
Sony Vaio laptop
2 Channel DJ mixer
bass guitar
guitar
VGA Monitor as kickdrum
QWERTY keyboard as keyboard
3 contact mics
1 sucker mic