Running to Stand Still

I wasn't quite sure where the project was heading, but I needed to experiment with something physical. I was considering an interface that would scrub audio at human scale; in order words, I could perform a piece of audio (or video for that matter), by attaching myself to a simulated tape reel. In this way, I could walk or run through the linear media, with the motion of my body driving the playback. My building focused on how to detect this linear motion.

I started out with a motor, thinking I could detect the positive and negative voltages it would generate as it was turned.. Arduino takes 0-5 volts on its analog inputs, though, and I wasn't sure how to convert the positive and negative voltages from the motor.

The Physical Computing book had an example of using a potentiometer to detect motion, so I tried to prototype that system.

Ultimately, what I discovered is that the modified potentiometer didn't work reliably. The "stop" I removed left a dead space in the resistance range that fluctuated as I turned through it. There seemed to be a pattern, but I felt that the code to smooth out this abnormal behavior would be prone to breaking. I needed some other way to detect rotation.

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As I started to think about what to perform for next class next week, there were two major themes: pulling and pushing. I was also inspired by the Markov chains we studied in Algorithmic Composition. On the right is a “Monome” like board for driving an algorithmic composition.

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Exploring the idea that "translation can be seen as a process that, when used literally, can provide unexpected and compositionally interesting outcomes" -- using translation as a generator. I used the Google Translator to do the translation.

I tried a couple of sessions with the translator and the following two examples are the funniest I produced.

When I lived in Texas many years ago, I could sometimes tune into a radio station from Mexico. At night, it played rock music in English. I heard "Hotel California" for the first time on that station. I always laughed when the DJ announced the songs, because he did it in "Tex-Mex" (or Spanglish as it is called here on the East Coast)...
"La voz de GunsandRoses"...
"La presencia de ACDC"...
The reason I mention this in the context of the above assignment is that during the day, the radio station played English-language pop music in Spanish. At the time, you could hear songs like "End of the Road" by Boys II Men, sung as "Vamos al fin de camino" (or something like that... it has been a really long time. A couple of weeks ago I heard a Beatles song sung in Spanish or Portuguese playing in the ITP lounge. It seems to me now that doing those translations well is probably a tricky operation.

So... this first attempt at the translation assignment involves part of a song that I first heard on the Reservoir Dogs soundtrack.

Stuck in the Middle with You
(Stealers Wheel)
English: Clowns to the left of me, jokers to the right
I am stuck in the middle with you.

Spanish: Payasos a la izquierda de mí, bromistas a la derecha
Me pegan en el centro con ti.

English: Clowns to the left of me, joking to the right
They beat to me in center with you.

Spanish: Payasos a la izquierda de mí, bromeando a la derecha
Batieron a mí en el centro con ti.

English: Clowns to the left of me, joking to the right
They beat in center to me with you.

German: Clowne auf der linken Seite ich, scherzend rechts
Sie schlugen in der Mitte zu mir mit dir.

English: Clowne on the left side I, joking right
They struck in the center to me with you.

German:
Clowne auf der linken Seite I, nach rechts scherzend
Sie schlugen in der Mitte zu mir mit dir an.

French:
Clowne page gauche I, vers la droite plaisantant
Ils ont attaché dans le milieu à moi avec te.

English:
Clowne left page I, towards the line joking
They attached in the medium to me with you.

Spanish:
Clowne dejó la página I, hacia la línea el bromear
Unieron en el medio a mí con ti.

English:
Clowne left page I, towards the line joking
They united in means to me with you.

German:
Clowne ließ Seite I, in Richtung zur Linie Scherzen
Sie vereinigten in den Mitteln zu mir mit dir.

French:
Le Clowne a laissé la page I, en direction à la ligne à des plaisanteries
Ils ont uni dans les moyens à moi avec te.

English:
Clowne left page I, in direction with the line with jokes
They linked in the means with me with you.

Perhaps you've encountered an instruction manual that didn't quite read properly in English? Some of the phrases are pretty funny. I found an example in the manual of my Fostex Digital Multitracker VF-16.

Before Operating the Fostex Digital Multitracker VF-16
(originally written in Japanese)
Please read the overview before going any farther with your new recorder as it will save you a lot of time in the long run.

Spanish: Leer por favor la descripción antes de ir más lejos con tu registrador nuevo pues te ahorrará mucho tiempo a largo plazo.

English: To please read the description before going more far with your new recorder because it will save long time in the long term to you.

Spanish: Para satisfacer leer la descripción antes de ir más lejos con tu registrador nuevo porque ahorrará de largo plazo al largo plazo a ti.

English: In order to satisfy to read the description before going more far with your new recorder because it will save of long term to the long term you.

Italian: Per per soddisfare per leggere la descrizione prima di andare più lontano con il vostro nuovo registratore perché li conserverà del lungo termine al lungo termine.

English: For in order satisfying in order to read the description before going more far away with your new recorder because it will conserve them of along term to along term.

Italian: Per in ordine che soddisfa per leggere la descrizione prima di andare più faraway con il vostro nuovo registratore perché li conserverà lungo del termine lungo al termine.

English: For in order that satisfies in order to read the description before going more faraway with your new recorder because it will conserve them along of the long term to the term.

Spanish: Para para que satisfaga para leer la descripción antes de ir más lejano con tu registrador nuevo porque los conservará adelante del largo plazo al término.

English: For so that it satisfies to read the description before going furthermost with your new recorder because it will conserve them in front of the long term to the term.

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We have been asked to adopt a daily ritual throughout the course of Performing Technology - preferably something we're already doing and document it as a study in "performance of the self."

The ritual I picked is reading from the scriptures prescribed for the daily Catholic Mass. I have been trying to read and reflect on them daily over a period of some years, but the routine is often broken. By choosing this as my ritual I hoped to increase my discipline in doing the ritual -- and also to gain an insight into how this practice develops for me over an extended period of time.

The idea behind this ritual for me is to more deeply develop a reflective and meditative process that shapes my actions in the world for the better. Prayer, I believe, is a way to do that -- and this ritual is one of many types of prayer.

As I began performing this ritual as part of the class assignment, I immediately began to have hesitations about what I was doing and how it would be received. On one hand, I wanted to perform a ritual that was meaningful to me -- and that I would have the ability to maintain for a long period. On the other hand, I didn't want to perform a ritual that was overly intimate. I also began to wonder whether my "public" performance of this ritual would be authentic to those who know me. I don't check my religious beliefs and practices at the door when I come to ITP, but at the same time, I am not outwardly religious in the context of my studies here.

Although I began documenting this ritual, by voice-blogging, Jamie pointed out in class that it needed to be framed in some sort of context. I've been struggling for the past week to understand how to do that and after wrestling with it again yesterday, I have come to a conclusion that I am going to see out to the end of the semester.

My original process was:
1. Read and reflect on the reading
2. Observe my attraction to a particular word or phrase
3. Post the word or phrase along with the scriptural reference via Jott on my cell phone to a WordPres blog
4. Clean up the voice transcription

Yesterday, I experimented with other ways to contextualize the process -- including some overly complicated methods involving my tablet PC (as you will see several examples posted here). The problem with many of these methods is that they required time consuming setup and post production to accomplish. I was not interested in engaging in a daily production ritual lasting an hour or two in addition to time spent performing the ritual itself.

My new process is:
1. Skim the three (or four depending on the day) readings and pick one to focus on
2. Start to record the ritual (audio and video) as I first read the passage aloud. The context comes from the image of the page as well as my vocal reading of the passage.
3. Reflect -- and once a section of the reading stands out, I zoom in on it.
4. Write the word down on a card as a reminder throughout the day. This also serves as a physical artifact of the process, which is for me an important aspect of the process.
5. Stop recording and upload the video to my blog.

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We played with the Sony DSP-V77 multi-effect processor this afternoon and found some good and bad effects.

The first bad thing we found was that the EEPROM battery is running low (or maybe even dead). We couldn't get the unit to start up at first. Fortunately, initializing the unit got us up and running again.

Factory Reset
1. Turn unit off
2. Hold down SYSTEM and ENTER buttons while powering on, until you see "Initialized" on the screen.

There were a couple presets that might be useful for the ghost voices in Urinetown.

Bank 1 #11 - Large Hall
Bank 1 #15 - 3D Catheral
User 1 #19
User 1 #1 - Magic Space

There was also a Darth Vader mode that might be useful for Christmas Carol.

The following pictures document how to change the apparent size of a reverb room simulation.

Use the edit button to, well, you know... edit!

We also played with the Alesis MidiVerb (which has nasty digital sounding reverb tails). The following presets might be useful.

#68 - Vocal Plate
#96 - Med Hall

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The Assignment:
Pick a known narrative (or create your own) and give the ‘reader/audience’ control over it. These will be performed next week.

My Challenge:
Coming up with an idea in a reasonable time -- and then implementing it. I didn't connect with much in the readings this week, save for the "Design as Storytelling" piece. So, hearkening back to the whirlwind days of making work for Spatial Design, I finally forced myself to crank out this project yesterday.

What Happened:
I build a Mad Libs Karaoke Machine using Processing and a little bit of sneaky AutoHotKey macro trickery. The program, which look quite a bit like a minimalist PowerPoint presentation, prompted the audience for a series of words, under the premise of collaboratively writing a story. As the audience responded verbally to the computer, I typed in their answers. After the final word was entered, the program took all of the audience-selected words and inserted them into a specially tagged version of lyrics for "Hotel California." The audience was unaware of the gag they were about to participate in: the story they were writing was really an alternate set of lyrics I was going to sing with them. They were surprised to hear the familiar guitar arpeggio as the song began. I was more surprised when my program crashed before I could move to the first line of modified lyrics. :( That was a big bummer -- but I think I proved the strength of the concept.

I started off considering some of the stories I like. Many of them are novel length. At this point, I wasn't sure which of the three assignment options I was going to do, but I was leaning towards the audience driven narrative.

I really like the The Rocking-Horse Winner by D. . H. Lawrences, and I played with physical interfaces ideas I could build to allow an audience to control the story. After my recording of the story clocked in at 39 minutes, I knew I needed to do something else for a five minute performance. I was really hoping to build something physical for this assignment, but the time I allowed myself didn't seem realistic to accomplish something physical (or perhaps something physical and as involved as I was considering).

Kelly and I were bouncing around ideas for other things to do and she mentioned mad-libs. Too simple, I thought at first (oh hindsight, thy vision is perfect and thy irony knoweth no boundary)

Trying to constrain the parameters of the project, I started looking for shorter stories to work with. One extreme was "For sale. Baby shoes. Never used." -- apparently attributed to Ernest Hemingway. I considered an interface for mixing the pieces of the story around, but again, thought it was too easy.

I remembered some of the 55 word stories from the Comm Lab assignment. One of them I found was a distillation of the Lord of the Rings trilogy into three short paragraphs. It made me laugh, so I thought something like that might have potential. Maybe I could condense "Rocking Horse Winner" in the same way, but then it would need to be serious....

One good constraint I added to the project was that it needed to be fun. I wanted to be able to laugh while performing the project, or at least make the class laugh.

The phrase, "The quick brown fox jumped over the lazy dog" came to me, but didn't offer much promise. Then, I returned to "mad libs." The idea of writing one seemed daunting, so I tried to figure out a way to tell a fun story that wasn't really dopey sounding. This led to a search for popular narrative songs to hack up into mad libs.

My initial list:
axis bold as love
hey, joe
daughter (pearl jam)
walk on the wild side
hotel california
piano man

The song needed to be popular (familiar -- and easy to sing as karaoke), narrative, and not too serious (so hacking it up would produce laughter rather than disgust). In the end, I selected "Hotel California" by The Eagles for my Mad Libs Karaoke Machine. It doesn't make sense to chronicle every stage of producing the project, but a few important points I want to remember are:

1. Trying to prototype using Open Office Basic was not the result of clear-headed thinking. I thought the scripting environment would be much like Office VBA (which still can be a bit of a pain). The "service" model for OO is really unpleasant to try to dig through. I started off that way at first to avoid having to deal with text entry and sound in Processing. I should have applied a very stringent time limit to this experimentation.

2. I was happy that I was able to hack away at this. Several times I stopped myself from trying to optimize some of the code. I was trying to solve for a more general case and allow for future expansion. The key point to remember is -- hey, there might not be future expansion of this prototype -- and why lock down the code so soon.

3. Failsafe measures are really important. I had a backup plan for recovering quickly if the music didn't start playing, but I didn't have one for recovering if the "slides" didn't advance. It is critical to take the time to examine a performance system for its failure points prior to performance. I missed a big one.

4. It might be a good idea to keep the words in a file so a crash doesn't lose all of the audience's work. My sense is that I could have gracefully worked around the crash if I had the words saved, but I couldn't restart the performance from the beginning. The novelty of the questions would no longer be there -- and it would be an intense 3-4 minute process, that might fail again. That would have been too much to ask from the audience.

This might make a fun toy for TNO...

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We're reading a selection called "Multimedia and Performance" for Performing Technology. It's a chronology of the development of performance art from the mid 1960s through the late 1990s. Although our theme for the week is "Theater and Narrative," I'm having a hard time discerning the concept of narrative in the pieces; however, the story of the chronology of the pieces seems like an interesting narrative and so I've tried to illustrate it as a map. I'm not sure if this is useful, but the dense text made it difficult to sort out who was working with who and who they influenced.

I tried to use Bubbl.us to do this, but it made a big mess. What I really want is a tool that let's me describe relationships as text...

Person
created/exhibited/performed: [blah] - when - where
influenced: [person]
collaborated with: [person] - when
part of: [group]

This sounds a lot like a social networking site. I want to be able to display a timeline of these events, or a cloud of related information.

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As I was trying to wade through James Corner's "The Agency of Mapping", I decided to try a little mapping experiment of my own.

View Larger Map

This experiment doesn't quite reflect the depth that Mr. Corner brings to his essay, but it does reveal some interesting biases in the author's research. I've plotted the birthplaces of "mappers" that Corner mentions in his essay along with links I could find to their work -- much of it in Google Books. It is interesting to note that all of the mappers he mentions were born in the western hemisphere and are male.

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Today as I was coming home from Conflux 2007, I had the notion to take pictures of yellow things.

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I attended Conflux 2007 in Williamsburg, Brooklyn at the suggestion of Rachel Adams, who is teaching "Widespread-Content: Mapping." The most enjoyable thing all day was taking a walk in Williamsburg guided by a fictional hurricane evacuation story called "Water, Water Everywhere" by Jennifer Treuting. I've created a map of my walk that is a subset of the map she presented.

View Larger Map

It's interesting how a made up story was able to give me a context with which to explore a new area -- and remember it very well. Usually when I'm walking in the city, there is nothing to anchor memories and I never know the stories behind the places I see.

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I came to ITP partially to take New Instruments for Musical Expression. My entrance essay discussed my desire to study and develop Interactive Music Systems, and I started off by building a few -- in Physical Computing, in Living Art, and then again (partially) in Designing for Constraints. Feeling that I've already worked on some of the territory covered in NIME, I decided to take Performing Technology instead. As I write this, it occurs to me that my love of music has always fallen closer to the performance rather than the interface for performing. It has been the act of playing the instrument rather than formal understanding it and its capabilities that satisfies me. At other times, I have acted and sung -- always finding inspiration in the rush that accompanies the moment the performance begins.

I'm finding intersections between performance and mapping as we begin this class and as I enter "Wide Spread Content: Mapping". Something intrigues me about the connection between the plan (script, manuscript, situation -- the map) and the performance it enables. I hope to discover more about this and to do some performing myself.

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My first mental model of performance.

If you're interested in a basic mind-map editor, FreeMind is pretty easy to use. It is a bit inflexible, but it does the trick for quick brainstorms.

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Performances such as the pigeon map that came out of Amsterdam Realtime are accomplished with technology are not simple instances of layering technology over top of a performance, but rather tightly integrating the technology into the performance.

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I feel that performance is a dialog between the performed work and the audience. In the case of designing sound, particularly the work I did on "Jeannie with the Light Brown Hair," the sound design was in dialog with the situation the actors were experiencing. The sounds of the subway served to highlight the tension between the characters as well as the tension of the situation they now found themselves in.

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I was out gathering media for our journaling assignment on my way back from my internship and got the idea that talking on a cell phone in public is public private performance. Before cell phones, in the days when we talked on our home phones, these conversations were private performances -- full of gestures, facial expressions, harsh words... Now these performances take place in public, but still retain many of the aspects of their private nature. I say that these are intentional performances. There are goals involved in the conversation.

So I decided to take some covert pictures of cell phone users.

Later in the afternoon, I read about Wendy Richmond's piece "Public Privacy" and saw that she was making similar observations about cell phones in public.

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Alfred, a homeless man I encountered on the #2 train gave a public spoken performance of his situation and his need for assistance. He reached some of his audience, but others ignored him.

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I move my body, a well practices gesture, to indicate to an arriving bus that I don't need it to stop. I look away and turn my whole body. A similar performance occurs when I want to make the bus stop.

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When I cycle, the attitudes and posture I adopt are a performance. When I have arrived safely, it was a good performance. I have to take on the role of a care -- and play this role convincingly to other cars.

At this moment, though, I wonder about the performance I am engaged in. The Samson reading describes Preedy entering the "scene" at the beech. I've entered the "scene" at the street corner to wait for a bus. There are a few people around. The role I feel I'm playing at the present moment is that of focused "thinker." I have my pencil and my notepad and I'm furiously writing down important ideas. I'm conscious of this as I do it.

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I needed about ten minutes of a spooky wind for "Off the Beaten Path," but couldn't find a good recording. I first tried making some wind sounds with my mouth, but found I couldn't sustain the sound for long enough. The thought of manually editing a string of my ten-second samples into a ten-minute wind was not appealing, so I dug up one of the filter patches we worked on in Audio Art to adapt it.

The patch was already feeding white noise into a filter, so I figured I could automate the frequency parameters to simulate howling.

I used the "drunk" object to randomly walk through numbers between 0 and 128 and then scaled those numbers two different ways to drive the filter and cycle frequencies. Initially I used a resonant filter type, but I found that the wind hissed too much. To get a lower, moaning wind, I tried sweeping the frequency of a low-pass filter instead. After tweaking the frequency ranges, I duplicated the wind generation and routed it to the left output channel so I could make a swirling stereo wind.

Since I need to burn this file onto a CD for the show, I connected an "sfrecord~" object to the outputs of the wind generators and then let it run for ten minutes.

Download MAX/MSP patch
Download sound sample (9MB)

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• Theatrical performance -- the shows I'm working on
• Instructional performance - thinking about Kelly's first day of school. Is content delivery a performance?
• Performative surfaces - while considering Yoko Ono's "Cut Piece" my mind turned to the place where a performance occurs... and then to playing surfaces -- and architecture. Some spaces are designed specifically for performance: theaters, concert halls, broadcast studios. What makes these spaces different than "normal" spaces. Isn't it possible to perform anywhere?
• Radio Drama

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A story of the public performance of a marketing strategy for a product called "Airborne"

excerpt from http://whohastimeforthis.blogspot.com/2006/04/created-by-school-teacher.html

"The School Teacher Diversion
Magicians know that the best way to trick an audience is to divert their attention away from what the magician is doing with a flamboyant gesture or joke. The fraudsters at Knight McDowell Labs elevated this to an art form with an insidious diversion that turned a liability into a "viral growth" marketing engine..."

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Description
(what elements are there? what is going on here?)
I viewed a video of Yoko Ono performing "Cut Piece" at Carnegie Hall in 1965. Ono, wearing a black sweater and skirt with fishnet stockings, sits alone on the stage with her legs folded beneath her and thrust out to her right side. A pair of shiny metal scissors lie on the surface of the stage in front of her. One by one, audience members approach the stage and the use the scissors to cut pieces of fabric from Ono's sweater, skirt, and eventually, her undergarments.

Ono looks forward throughout the piece and does not appear to make eye contact with anyone who cuts a piece from her clothing.

Analysis
(how do elements work together? why?)
The action of the piece centers around the scissors, which the audience members use to cut pieces of fabric from Yoko Ono's clothing. The elements physical elements work together in several ways. The sewing scissors are intended to cut cloth. Ono is seated on the stage in a submissive position; her posture does not oppose the action that takes place. The audience members' performance in the piece is prescribed (cutting fabric), yet allows for many expressive interpretations.

Interpretation
(what is the intended communication? what is the actual communication?)
Ono seems to use the performance of "Cut Piece" to explore a number of issues. We can hear in some of the off-camera comments and reactions a cross section of negative attitudes towards women. One man says, "Come on, make a piece for Playboy, Richard." Ono sits quietly, unresponsive as she is revealed to the audience by the audience. But that revelation communicates something else to me. The audience cuts Yoko Ono apart on stage, but why do they cut? Is it only because they have been given agency to do so? If Ono sat on the stage, dressed the same, but without the scissors, there would have been no performance. It would not make sense for the audience to take the actions they did without the scissors she provided. What I see is the artist giving the audience the tool to ultimately reject her art -- to cut it up metaphorically -- to critique it -- to reveal it down to its very essence, down to her nakedness. But her nakedness is paradoxically not the essence of her performance. Once the audience has cut away her clothing, they have neither come to know her more deeply nor to understand her intentions (save for her resolve not to react). They have revealed her bare skin, but have not objectified her in her nakedness.

Decision
(what works for you in the piece and why? what does not and why? what more would you like to see)
The only element of the performance that does not work for me (from the video recording) is that I can't see why the audience has begun to cut in the first place. Did they begin on their own or were they prompted to do so?

Other observations
A recording of a performance is different than a performance. I cannot adjust the camera angle. I only see what the camera sees. On the other hand, I can replay a recording to watch for nuance.

An in depth description presenting the elements of Yoko Ono's performance

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I have been designing sound for the Hudson County One Acts Festival at DeBaun Auditorium.

Come out and hear what I've been working on, but more importantly, check out these innovative shows.

September 14, 15, 21 & 22, 2007 at 8pm
$15.00 adults/$10.00 students & seniors/$5.00 children

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• Subway performers
• Performing a duty (discharging a duty) - the train conductor - "stand clear, and watch the closing doors"
• Fashion as performance
• Public Face
• Performance as persuasion
• Roles: police officer
• As we discussed in class, there are expectations in a performance. Is there something of performance in our identity -- and particularly the professional identity we present. Where do these expectations come from? We expect certain performances from certain roles.
• Tradeshows
• Could we consider a traffic light a performance? How does it measure up against the list we were working with in class?
• As I rode the bus, a guy with headphones was rapping along with his music - a karaoke performance. What are the elements of this performance? Who is the audience?

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