Listening to the Ocean on a Shore of Gypsum Sand is a collaborative project between Gene Kogan, Phillip Stearns, and Dan Tesene. Seashells are 3d printed from algorithmically generated forms for the sole purpose of listening to the “ocean”. The project questions the role of experience in the mediation of the virtual world to the real world and visa versa.
For those of us who have had the experience of listening to the sound of the ocean in actual seashells, it is a questions of lived experience shaping an approach, not only to the object (or world) at hand, but how it is perceived and acted upon. Are we to trust these shells? Do we seek out natural shells for comparison?
To those for whom their first experience of listening to the “ocean” through the digitally produced shell, the question becomes one of how the first encounter with a virtualized and simulated reality shapes the experience of lived space. This virtual shell is all I know of the real, until I encounter those found in nature—and when I see this natural shell, what then is my experience of? More broadly, how does mediated reality form our preconceptions of the world?
For some, these questions seem obvious—we may even have convinced ourselves that we have this all figured out. We are aware of the possibility that the virtual world and real world are two interacting identities, distinct ideas that maintain their individuality despite their mutual influence on one another. There is, however, a possibility that this distinction is fading with younger generations, as technologically mediated experiences permeate childhood. I wonder about the effect of this as they grown into the world.
This project will be on view at Soundwalk 2012, a sound art festival in Long Beach, CA on September 1st 6-10pm.
“free103point9 hosts, “Transmittal,” a transmission arts exhibition of local New York artists and international radio artists, in Catskill, New York this spring. “Transmittal” is curated by Galen Joseph-Hunter, free103point9’s Executive Director and author of “Transmission Arts: Artists and Airwaves” (PAJ Publications: 2011.) Works include video, sound, radio, installation, performance, and work-on-paper. An opening for “Transmittal” will be held Saturday, April 28 from 5-7 p.m., and the exhibition is open from Apr. 27 through June 1 at the Greene County Council on the Arts Gallery at 398 Main St. in Catskill.” – free103point9.org
I’ll be showing Deluge, a light and sound sculpture consists of 35 hand made modules, each containing a transistor receiver that generates white noise, an amplifier w/ speaker, and 12 LEDs. Static from a broad spectrum of unused radio frequencies is gently amplified through a small speaker, and visualized by a string of LEDs. Together the cloud of individual modules create the impression of rain.
Currently wrapping up construction of Deluge. This project will be exhibited as part of the Transmittal group show curated by Galen Joseph-Hunter for Free103Point9 at Greene County Council on the Arts Gallery in Catskill, NY. Opening is April 28th, 2012 at 5-7pm.
“56. What makes good glitch art good is that, amidst a seemingly endless flood of images, it maintains a sense of the wilderness within the computer ” — Hugh S. Manon and Daniel Temkin, “Notes on Glitch”
Year of the Glitch is a 366 day project aimed at exploring various manifestations of glitches (intentional and unintentional) produced by electronic systems.
Each day will bring a new image, video or sound file from a range of sources: prepared digital cameras, video capture devices, electronic displays, scanners, manipulated or corrupted files, skipping CDs, disrupted digital transmissions, etc.
These images are not of broken things, but the unlocking of other worlds latent in the technologies with which we surround ourselves.
With the opening of the Algorithmic Unconscious group show at Devotion Gallery earlier this month, my interest in iterative video processing has been renewed as a method of exploring compression algorithms. You might be familiar with the technique, it was the same used for the epic Alvin Lucier inspired Video Room where YouTube user canzona uploads, downloads and re-uploads a video to youtube 1000 times. Where his work explores the impact of the compression schemes native to YouTube, the new video work above explores the motion JPEG-2000 compression algorithm.
The source video is a custom made 16 second loop cycling through the 8 fully saturated primary and secondary additive colors—black, red, yellow, green, cyan, blue, magenta, white. In quicktime, the JPEG-2000 compression algorithm is chosen to export a .mov file of the lowest quality (smallest size). At this setting, the compression algorithm is repeatedly making decisions concerning what information is relevant or important while discarding the rest—up to 99% of the original data. The result is a considerably low quality reproduction of the original with visible data-compression artifacts. By applying a handful of filters to the compressed file and then re-compressing, data-compression artifacts are amplified. By repeating this iterative or recursive process hundreds of times, an effect similar to feedback is achieved where the visual output becomes degraded from the original and the artifacts take on a generative nature.
For this study, 193 iterations were time compressed to fit within a roughly 10 minute span. The video was then paired with audio from “Metamorphopsia”, a track from the Macular Degeneration project.
Leading up to this completed study, several attempts were made to work with h.264 on fades between black and white frames. Similar work was down with audio compression algorithms and white noise. Further works in this series will investigate the effects of different compression algorithms on simple patterns of varying motion, shapes, and transition effects.
As a note, this work is less about abstraction and more about taking the concepts of Concrete Art to a place where expression re-emerges through the algorithm, which I am taking to be an abstraction of human perceptual features mediated by a deterministic system of discrete logic.
Maker Faire 2011 in NYC is chock full of some amazing projects. The sheer quantity and variety of makers showcasing work is staggering. To see everything is definitely more than a two day affair. This year I was invited to present a self-built solar powered music making system for 3rd Ward, where I currently teach the art of making DIY Synthesizers and small scale solar charging systems.
This solar music making station (Protochiptune Project) is powered by a Voltaic Systems 15 Watt panel connected to a 7.5Ah 12V Seal Lead Acid Battery. A 10A solar charge controller does all the power management to drive the music synthesizer’s three 5 Watt amplifiers. The microchips used are from the 4000 series CMOS digital logic family, including such chips as: hex inverting buffer (40106), 12-bit binary counter (4040), 8-to-1 selector switch (4051), quad 2-input AND gate (4081), and divide by n counter (4018). These chips are used together to produce a range of pitches and rhythms that can be sequenced or programmed by moving jumper cables on the breadboard, making a mini patchable modular synth.
At Maker Faire, kids were really attracted to the crazy jams coming out of this thing. Those who were bold enough were allowed to move some of the jumpers around on the board and make up their own musical patterns.
Grayson Bagwell recently inspired me to begin working with prepared scanners. After taking apart an HP F335 all in one printer scanner combo, I got the bright idea to replicate some of my favorite op-art-esque images produced with the Kodak digital cameras in the DCP Series. The image above was created by scanning a CFL bulb that was being controlled by audio signals generated by mixer feedback.