May 3-7, 2005
Thesis Presentations
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| floating tones | ||
|---|---|---|
| Author(s): | Sarit Youdelevich | |
| Instructor: | Baxi, Kadambari | |
| Class: | Final Project Seminar | |
| URL: | http://stage.itp.nyu.edu/~sy418/floatingtones/ | |
| Keywords: | sound, space, place, Ubiquitous Computing, cut ups, acoustic space | |
| floating tones is an experiment project which uses sound as a metaphor for \'ways one experience a place\'. | ||
| Ubiquitous computing enables us to ‘see’ Virtual Reality differently. Virtual Reality is not a territory, not a space of its own, thus, only a map, another way to view a world. As ubiquitous computing brings computers to ‘our world’, rather than us having to adapt to the world of the computer, of technology, it provides a tool for infinite Virtual Realities. Those virtual realities are perspective, are paths connecting truths; are narratives; are infinite games. Ubiquitous Computing create a new era where we have the potential of sharing ‘acoustic’ space. Acoustic space is a space where there is a total and simultaneous field of relations alien to the visual world. Acoustic space has no center unlike the visual space, which is an extension and intensification and therefore under the control of the eye, knowledge and ownership of the viewer. We create an “idea space”, where parts are ready to be connected and any connection creates a meaning. Different perspective/narratives are around us all the time. They are sound particles formed in paths in an “idea space”, relate to us because we share connections in our paths. We communicate and understand each other not because we have the same knowledge about something, and not because we have an alike mind, but because our perspectives are juxtapositions in an idea space. Our awareness is the awareness that there is no meta narrative since we keep Cut ups (Burroughs/Gysin/Gristle’s term, as continue the unfinished past into the future) and therefore we have no/need no ‘reality’ to relate our perspective to. Place is the physical space and what that space signify to the one in relation to his community (others that experiencing the same space), through time. The experiment aim is to explore ways to create an \'acoustic\' space as a field of infinite relations and present it as reflections of modern society. The experiment will explore different ways user can use sound in relation to the individual creation of his perspective/story; different ways users influence each other perspectives; and sound as a form of communication which is different (suggested to be \'better\') than visual/textual forms. | ||
| Personal Statement: | I enjoy exploring new things and will always be in the process of learning. Before coming to ITP I was working as a programmer and later team leader and project manager, developing digital map, real-time Geo-Tactical Solution, 2D and 3D.
I did a B.A. in arts while I was working. The academic engagement of theories and researches while working in a very accurate field, based on algorithms built out of facts was a great experience. I learned the advantages of each and the advantages of combining them. I analyzed academic researches and found creative solutions to software problems. It is interesting to me to explore how we can expand our knowledge associated with our senses in the real world and analyzing what we can accomplish with that knowledge. Advanced technology provides us with the ability to develop enhanced tools for a new exploration voyage. During my travels and being a student at ITP, confronting cultures that I wasn’t familiar with and still finding a lot in common with was very exciting and enriching. I’m interested in developing the ability to approach different people, from different cultural, religious, and geographical backgrounds and yet keep the uniqueness of the individual. Through my studies at ITP I am exposed to sound, both theoretically and practically. I learn how different an acoustic/oral space is from a visual/textual space. I think its language is more fluid, less hierarchic and unlimited, with a potential to echo the individual own experience through space, both nature and nurture, meeting with other individuals paths. | |
| Context: | • Urban projects that use sound in relation to the space
• Ubiquitous Computing – mobility, cyberspace as dots in the real space; Ubiquitous Computing as a model of infinite games • Oral vs. Visual and Literacy • Idea space (Bill Viola term) - interactivity; where is the ‘message’ • Cut-ups (Burroughs/Gysin/Gristle’s term) as a form of time travel - continue the unfinished past into the future; playing; creativity • John Cage – the future of music • Music theory – rhythm and body movement; form as the structure of the parts (gestalt) • Neurasthenics – how do we perceive sound and how it is different than visual; what is creativity; • Buddhism – the one in the whole | |
| Audience: | all. people who like to play with sound. | |
| User Scenario: | 1. Collect (record but not only) sound (to express an experience) and hear it in relation to other\'s sound.
2. Collect (record) sound and manipulate it, in a different space and time using a data collector device. 3. Manipulate real time sound using a device, to shape individual ‘voice’. | |
| Methodology: | Prototype#1 – form one sound using multiple sounds file as inputs, using Max/MSP patch.
Prototype#2 – build a device (microcontroller, sensors) to collect data of one moving in space; record sound using various (all ready exist) devices (I will use iPod+iTalk); manipulating sound using Max/MSP patch. Prototype#3 – built a device (microcontroller, sensors) to manipulate sound while recording, the device is wired to a computer to play and capture the sound. I\'m also using story-telling methodology through animation to present my hypothesis | |
| Sources: | • Carse, James P. Finite and Infinite Games, 1994.
• McLuhan, Marshall, The Playboy Interview, 1969 • RE/Search #4/5: W.S. Burroughs, Brion Gysin, Throbbing Gristle, 1982. • Viola Bill, Will there be condominium in Data Space?, (1982), in Multimedia: From Wagner to Virtual Reality, eds. Packer Randall and Ken Jordan, 2001. • Rheingold, Howard, Smart Mobs: The Next Social Revolution, 2002 • Weiser, Mark (1991) The Computer for the 21st Century, Scientific American, 265(3): 94-104, Available online at: http://www.ubiq.com/hypertext/weiser/SciAmDraft3.html • Galloway Anne, Resonances and Everyday Life: Ubiquitous Computing and the City, 2003, and other stuff since • Steve Harrison and Paul Dourish, Re-Place-ing Space: The Roles of Place and Space in Collaborative Systems • Talia Dorse, Revealing the Continuum: An Investigation of Sound and Space • Cage John, The future of music: credo, from a lecture in 1937. Reprinted in 1958 in Cage\'s book Silence • Time Scales of Music, Roads, Microsound • The Work of Reproduction in the Mechanical Aging of Art: Listening to Noise, Stan Link, Computer Music Journal, Spring 2001 • Microstructures of Feel, Macrostructures of Sound: Embodied Cognition in West African and African-American Musics, Vijay Iyer, 1998 • A Spatial Theory of Rhythmic Resolution, Neil McLachlan, Leonardo Music Journal Vol. 10 pp 61-67, 2000 • Jourdain Robert, Music, The Brain, and Ecstasy How Music Captures Our Imagination, 1998 • Zeki Samir, Inner Vision • straus Erwin, Phenomenological psychology • Hofstadter Douglas R., Gödel, Escher, Bach: An Eternal Golden Braid • Robertson Paul, Neurology of the arts; Music and the Brain: A Musicologist’s Viewpoint • hawkin Jeff, On intelligence • Hesse Hermann, Siddhartha, 1951 Projects • Victoria Vesna / nano mandala. • SonicCity • Lian Chang, Michael Sharon, Manlio Lo Conte / 23CentStories • Reverberant / Sound Mapping • BELOFF-BERGER-PICHLMAIR / Seven Mile Boots • ATR / CosTune • Teri Rueb/ Trace; Drift - Sonic Space-Time: Sound Installation and Secondary Orality • Teri Rueb/ Open City - Invisible Cities • Janet Cardiff/ Her Long Black Hair • William Carter/ Location33 • Media Lab Europe/ tunA • WTC audio database • wild weekend project | |