Date: 12th – 14th May 2011
Location: Kunstuniversität Linz, Hauptplatz 8, 4020 Linz
Observing, comparing, reflecting, imitating, testing, combining
LiWoLi is an open lab and meeting spot for artists, developers and educators using and creating FLOSS (free/libre open source software) and Open Hardware in the artistic and cultural context. LiWoLi is all about sharing skills, code and knowledge within the public domain and discussing the challenges of open practice.
This year’s event offers an exhibition, artists’ workshops and – like every year – lectures, presentations and sound-performances.
minipimer.tv (ES), Aileen Derieg (A), Martin Howse (UK/DE), Jorge Crowe (AR)pending), Malte Steiner(DE), Servando Barreiro (ES), Enrique Tomás(ES/A), Peter Bubestinger (A), Stefan Hageneder (A), Audrey Samson (CA/NL), Sabrina Baston (DE), Sebastian Pichelhofer (A), Barbara Huber (A), Max Nagele (A), Helen Varley Jamieson (NZ/DE), Adnan Hadzi (GB), André Carvalho Hostalácio (BR/DE), Claudia González Godoy (CL), Dominik Leitner (A), Rob Canning (IR/UK), Marloes de Valk (NL), Owen Mundy (US/DE), Dušan Barok (Sk), Nicolas Malevé (BE), Margaritha Köhl (A), Pippa Buchanan (AU/A), Birgit Bachler (A/NL),…
Boot your computer from cd or usb drive and have the following software available:
puredata, supercollider, csound, chuck, ladspa plugins, ardour, audacity, ecasound, …
gimp, inkscape, fluxus, freej, processing + extras, imagemagick, gthumb, gphoto2, …
mplayer, vlc, avidemux, kino, mencoder, transcode, luvcview, xawtv, recordmydesktop, …
icecast2, ices2, ffmpeg2theora, oggfwd, darkice, darksnow, gstreamer, dvswitch, …
firefox, links2, network-manager, wireless-tools, ssh, telnet, gftp, irssi, nfs, …
gcc, make, patchutils, subversion, mercurial, bzr, emacs-goodies-el, java jdk, python, …
This project originates from personal experience of playing the Shahi Baaja an Indian folk instrument (itself developed from the Taisho Harp, a Japanese instrument). When an instrument originated by another culture is adopted by Indian musicians it may take on characteristics from other Indian instruments. Examples of this include changing the pitches of the individual strings to a more “open tuning” that suit the style of music and adding sympathetic drone strings. This has the result of creating further drone strings. These developments have taken place when the western acoustic guitar has been converted into the Hindustani slide guitar e.g. the Chaturangui created by Debashish Bhatacharya, the Mohan Veena created by Vishwa Mohan Bhatt, and Taisho Harp’s conversion via Bul Bul Tarang to Shahi Baaja.
The Shahi Bajaa has a total of 15 strings. These can be grouped into 5 main strings that are further sub-divided into 2 groups – 2 melody strings and three drones. The remaining 10 strings are tuned chromatically and used as a swarmandel (a type of Indian harp). The instrument is solid bodied, features a “pick up” and is played through an amplifier.
The player is limited by the mechanical attributes of the instrument. Primitive piano style keys hold down each note and due to the design prevent “note bending” from taking places.
There is limited jawari on main playing strings compared with that of a Sitar.
To add a drone or other instrumentation would require several pieces of equipment and potentially more musicans.
Research and create a hybrid augmented instrument.
The instrument would be part electric and part digital where all features can be controlled directly from the instrument during a performance. Look into the application of wireless technologies in the form of networks and radio – potentially Xbee radio.
A potential design for the instrument has been posted on my Digital Media blog.
There would be two options for the digital part of this project.
1) Use an interface created using sensors (including touch screen and capacitive sensors on the fretboard) and Arduino which would in turn control a Max MSP patch run on a separate laptop or small self build computer.
2) Use an iPhone or iThing
The iPhone would give greater control and allow for less equipment as all signal processing could be handled by the instrument rather than by a separate laptop. A jailbroken iPhone could run Pure Data vanilla. The magnetometer within the phone could be used as well as the accelerometer and the touch screen. A magnet attached to the players hand could be used to trigger sounds/samples in 3d space without touching the instrument.
The phone would be built into the instrument and would appear to be integral to it rather than something extra added on as an after thought.
The Max or PD patch would include instruments, looper, effects and pitch tracker for the strings.
Critical – it feels like a design project, rather than a research project and has a ‘personal’ feel to it?
1) Theory and analysis
How do we “envision” the future and the past in acoustic terms? Can insight from both be used to synthesise a new creation?
Do theories exist explaining the development of instruments? Who by? What are they?
What language is used to describe digital instruments?
What are the legacies for linguistics, semiotics, and other theorys of language for Digital Media studies? How are these relevant to this project?
Do Heidegger’s “at hand” description of tools have relevance for this type of instrument?
How could such an instrument be analysed in terms of Baudrillards symbolic value and use values of objects? Culturally does it have any worth?
How can an essential subjectivism be upheld in music?
How can art be credibly understood as an autonomous expression of artistic individuality, if in our modern consumer society subjectivity itself is reduced to the choice between mass-produced goods?
Expressions of crisis in Modernism… Post-Modern perspectives.
2) Politics, Identity, Memory
How do language barriers impact on sharing of global instrument building knowledge?
How does appropriation relate to cultural identity?
Has this increased or accelerated in recent times? with what impact?
How do current models of digital media theory history account for text, language and sound?
4) Production Practices
How has repurposing influenced the creation of digital instruments? What impacts has it had and what is there to be learned?
Would this instrument travel i.e. be successful in a different cultural context? If so why? As an interesting aside it would be interesting to take the completed instrument back to India and record musicians there playing it… carry out further research in the form of interviews with them, their thoughts and feedback on it etc… record other artists playing it and their interpretation of the instrument.
Does the form of all future instruments have to be grounded within the design of the laptop (typewriter) or mobile phone to be considered current?
Have strings become a hindrance to the creation of new sounds? Culturally is there a difference between ‘vibrating air created by vibrating strings connected to vibrating speakers’ or ‘sound produced exclusively through vibrating speakers’?
“Music transforms itself through the listener into the absolute, which infinitely transcends all existence, human or technical”
Friedrich Kittler (2003) “Pynchon and Electro-mysticism”
Pp 3 Xxxxx
Lacan suggests that only Mystics and women are connected to the infinite… (Lacan For Beginners…)
6) Neuroscience and Psychology
How can augmented instruments integrate concepts such as “multi-modality” and insights from neuroscience and psychology?
Contemporary Dance Performance with multichannel sound
This would just involve the other projects but rehearsed with dancers.
Ideas behind multichannel sound
Are immersive experiences passe now? the word immersive and the connotations grate…
Projections onto Liquid Nitrogen Smoke / Dry Ice
Projector images controlled through Max computer vision to follow people through space
Using CV and directional sound (from
Roving speakers that project directional sound at audience members and follow them.
View camera through phone and then reach out and touch things this generates music. Touching objects in the real world. Exploring real world environment.
Using mobile phones to connect with networks
Control networked physical objects via phones
Old ideas continued
David Tudor “talked of playing an amplified Piano for performances of John Cages Variations II claiming that he could “only hope to influence” the instrument and couldn’t predict the nature of the sounds that would result from a particular action.”
James Pritchett “David Tudor as Composer/Performer in Cage’s Variations II” Leonardo Music Journal Vol.14 2004 pp. 11-16 quote on page14
Reading this resonated strongly with me. I had been experimenting with chaotic systems that could be influenced but not totally controlled.
The two separate setups I’d been exploring involve:
1) guitar pedals chained together with a mixer.
2) two of the patches from lloopp – Beauty and Beast running on a laptop.
Looking at photographs from live performances of Rainforest in 1979.
Fig3. Pp.27. David Tudor’s Rainfrorest: An Evolving Exploration of Resonance. John Driscoll and Matt Rogalsky Leonardo Music Journal Vol.14 2004 pp25 – 30
I was struck by how similar David Tudors set up during some of his performances appeared. How modern his set up looked. In turn how out dated chaining guitar pedals through a mixer now looked! (As the origins of a technique are forgotten history repeats itself – a possible example of Baudrillard’d theory of recycling time and history?… “when ice freezes, all the excrement rises to surface… when the future is deep-frozen… we see all the excrement come up from the past” (Jean Baudrillard (1994). The Illusion of the End. Cambridge: Polity Press. 26). “Thus, history’s great ruse is to have concealed its end by making us believe we are continuing to make it” (Jean Baudrillard (1998). “The End of the Millennium or The Countdown”. Theory, Culture, Society, Volume 15, Number 1.) A horrible mental image but he makes a convincing point.
Do it in software first
Nick Collins (USA)– editor of Leonardo (not the nick Collins of super coliderr)
John Bowels – Goldsmiths
Indeterminate controllers with one
University of east anglias sound art thing – look at this
Isolate question to explore and develop experiments from this. Eg. Never repeat the same thing twice…
Ubu – check this out for sound art and sound poetry resources
db mics are mint – use these for sound recording
Lloopp software for Max
Leaving guitar pedals behind and focusing on Max and specifically Lloopp. Lloop consists of a set of Max patches that have been created for live electronic performance.
Two of the patches contained within the Lloopp framework are of particular interest. Namely Beauty and Beast. The Beauty and Beast patches utilize loop cycles where the output from the system of signal processing code is input back into this the same system from where it originated. This creates a vast range of sound texture from virtually nothing.
Historical Use of Feedback
Historically, feedback has been utilised as a military application during World War II. It was used for jamming radio signals that were intended to guide aircraft (via stereophonic remote control) to their targets during bombing raids (pp.101-103. Kittler, F. (1986) Gramophone, Film, Typewriter. Stanford University Press)
Audio and visual feedback have been used as material in works of art where it has been “directed so that it conforms to artistic intention.”
Pg 50 – 51 Fundamentals of Digital Art
Coulson presents the following two examples:
1)Violin CRT. Woody and Steina Vasulka, 1970-78
This features a Cathode ray screen and a violin. The sound of the violin distorts the images of faces displayed on the screen when it is played.
2) The Thinker – TV Rodin. Nam June Paik, 1976-78
Appears that a statue of Rodin is watching itself on a tv screen creating a self referential loop.
In music guitar feedback loops created between amplifier and guitar pick up have been used to create infinite sustain typified by Jimi Hendrix.
Beyond Hendrix musicians like Merzbow (Masami Akita) have used feedback as glamorised, mythologized and described in Freudian terms by music journalists like Edwin Pouncey:
“Armed with an arsenal of battered electronic equipment, broken guitars, and defective tape recorders, Akita began to explore the possibilities of using feedback instead of musical notation to create music – by tapping into the ‘secret voice, the unconscious libido’ of the equipment and controlling it.” Edwin Pouncey , “Consumed by Noise,” The Wire, No. 198 (August 2000) pp. 30
Since 1992, artists like Toshimaru Nakamura, a Japanese musician, active in free improvisation and the Japanese Onkyokei (音響系 Onkyōkei), the quiet noise scene, have used no input mixing boards with looping pedals to explore the potential of feedback as an instrument and sound source. Sachiko M, another Japanese musician, has explored a similar quiet noise trajectory using no input sampler.
Since then musician / researcher Aymeric Mansoux has speculatively described “Digital Feedback as a new state of matter”. See m howse references on phone for this ref
Processes that would be able to do this…
Concept For This Project
Explore the role of interfaces and build an interface based on this research that can control Lloopp during performance.
Explore digital feedback in more detail. For example, Digital feedback creation, techniques for manipulation, controlled output, taming the results etc.
The Dream of Descartes – Philosophical Interfaces
Otto E Rössler in his essay Endonomadology published in xxxxx claims that René Descartes concept of “Cogito Ergo Sum” – “I am thinking therefore I am” can be extended based on the translation of the Latin Cognito to mean consciousness – “I have consciousness therefore I am”. Rössler claims that Cognition is an interface and that we as humans are living in the interface of consciousness. That in fact Cartesianism provides a theory of the interface.
This interface is the interstices, the inbetween, of the dream state and the waking.
He moves on to discuss Descarte’s “World as Machine, People as Machine” concepts based on material consistency before tracing a path to de Sade.
He discusses building a lower level universe where you are the boss which is similar to programming something in max and then controlling it via an interface…
Rössler undermines the value of material consistency through reference to the breakthroughs of 1927 in quantum mechanics and the resulting crisis within science
Science lost contact with rationalism (rationality) in 1927 – Nils Bohr, discovered the “Complementarity Principle” & Wolfgang Pauli “idea of primary chance”.
Example of rationality
Chaos Theory – deals with chance on a basis that is rational – e.g. cannot predict the weather a year from now accurately
Primary Chance in quantum experiement when you have a Geiger counter that makes a click when a radioactive substance send out a particle – this click is completely unpredictable. – no causal deterministic understandable explanation of why this happens – therefore – it is a primary chance.
Catesianism died in 1927 as science could not find a rational description of the world as proposed by Descartes. (As an aside Baudrillard uses the failure of rationality in science to propose in Passwords (2003) (the Chapter headed Chaos) that the western cultural system is headed for catastrophe.
“Chaos is not radically opposed to rationality. Rationality we have more or less mastered, but even the sciences are reaching their outer limits: at a certain point, we come up against the object barrier, and physical laws reverse themselves and no longer operate. However, we have not yet left behind the utopian goal of increasingly sophisticated knowledge, even though that radical illusion is not internal to science. …since we claimed to control the totality of postulates, it is clearly our system that is heading for catastrophe.”
Jean Baudrillard Passwords (2003) Verso
I need to look further into the Descartes interface postulate and find out what other thinkers have dealt with this.
If consciousness is an interface how has neuroscience modelled it and how does it work?
Karl Pribrams (psychologist and neurosurgeon) has postulated the Holonomic Brain Model to represent cognitive functioning.
David Bohm (physicist) suggested that were we to view the cosmos without the lenses of our telescopes the universe would appear to us as a hologram.
Pribrams extends this by suggesting that if we were deprived of the lenses of our eyes and lens like processes of our other sensory receptors we would be immersed in holographic experience.
Bohm came up with the idea of “implicate order” & “explicate order” – unfolded order – a special form contained within the general totality of all the implicate orders.
Put incredibly simply:
Each piece of a hologram contains information about the whole image. The concept is that this is the way the brain encodes memories
The manifest content of consciousness is based essentially on memory, which is what allows such content to be held in a fairly constant form.
The spatial frequency encoding displayed by cells of the visual cortex was best described as a Fourier transform of the input pattern
Why do this what does it achieve?
Fourier transform analyses a time domain signal and outputs it as a frequency domain
e.g. take a chord and apply fourier transform – gives the constituent frequencies – a mathematical representation of the amplitudes of the individual notes (frequencies) that constitute the chord – with light this would be he different amplitudes of the wavelengths of light sampled which would reveal the different colours.
“future orientation” – the essence of cognitive function
Quantum dynamics of free will
All from wikipedia
Need to reflect on what this means for creating an interface for lloopp.
Elements of an interface
Interfaces consist of three separate things:
- Physical – stuff you touch/sensors
- Software – commands sent to an object to make it respond
- Electrical – pulses of electrical energy sent from one device to another to be interpreted as information
Pp18 Tom Igoe (2007) Making Things Talk. O’Reilly
These three elements require consideration
Potential Ideas For the Interface
“Your work isn’t a high stakes, nail-biting professional challenge. It’s a form of play. Lighten up and have fun with it.” Sol LeWitt (1967) Paragraphs on Conceptual Art
Magnetometer from iPhone used and control with magnet – link with haptic feedback – the magnet vibrates when certain points in the field are reached. As the magnetometer measures an area like an invisible field around the phone it could be linked to a multichannel set up that is 3D i.e. has tiered height (elevation) as well as perimeter coverage. Individual sounds could be panned around this through interaction with the magnetometer.
OSC control from iPhone to control the patch
Water vapour and capacitive sensors – proximity to mist generated from pond mister.
Superconductors when cooled with liquid nitrogen can be levitated in strong magnetic fields. These can still be handled and this would create a really interesting interface with potentially novel feel.
Once in the magetic field and levitating the superconductor is completely surrounded by the field. This means that the instrument could be turned upside down and the superconductor will not fall off – it will levitate upside down.
Infrared or ultrasonic rangefinders could be used to measure the height or movement of the levitating magnet this would be related through max into changes in parameters in the patch to control various elements.
Link this with the feedback maxpatch?
RFID tagged objects can be identified and located within an area…. Moving them around like moving sliders etc.
Items within a network, links and relationships between objects would affect the max patch.
Bruce Sterling – in the future every object and the parts that constitute it will be networked…Recycling make bigger object out of smaller ones
Continuing my desire to post old documents to show my research progression. Here is one of my original ideas concerning the electromagnetic spectrum:
MRes. Digital Media
“Some day artists will work with capacitors, resistors and semi conductors as they work today with brushes, violins and junk” Nam June Paik
My artistic practice has involved producing work in the following fields:
Sound (texture rather than melody, field recording)
These overlap into cross disciplinary work and can involve collaboration with artists from other disciplines.
Themes explored through my artistic practice include:
Drone (extended sound, slow motion digital film as a digital visual drone),
Slowness (deceleration, a slowing down) of sound of movement etc.
Currently, conscious time i.e. the present has been estimated at ~600ms according to Winckel’s (1967). The type of “slowness” experimented with is a “slowness” achieved through technology. It has been used to increase the chances of observing overlooked detail and to invoke a contemplative state in an audience through the use of sound and image. This “slowness” extends human perception and experience of time as the present undergoes deformation and becomes stretched. In some cases speculative images and sound are created by interpolation and extrapolation of data sets. It is not an anti-technological “slowness” as in the slow movement or call to slow down the advancement and development of technology.
I have explored materials including string instruments, electromagnetic coils, dust, abandoned spaces, liquid nitrogen, solid carbon dioxide and more recently electronics, microcontrollers and code.
The more recent experiments with electronics and code came about as a result of research into artists who were using materials not normally considered to be traditional.
Examples of these materials are solenoids, circuit boards, wires, microchips, telecommunications, networks, and software.
Coulson in his 2007 book, The Fundamentals of Digital Art, outlines three responses displayed by artists who are increasingly exposed to technology:
1) pretend technology does not exist and use traditional materials
2) make limited use of technology for dissemination / presentation.
3) “The third response is characterised by an intense curiosity and complete acceptance of the radical ways in which technology can alter and energise the working process, the goals, and the whole aesthetic context in which work is made.”
This third response characterises my development and choice of materials used in my work.
Ideas For Final Project Production and Research
Signal Ecologies within the City – Existing Within Herzian Space (space full of frequencies) – Augmented AudioVisual Field Recordings
Within our cities an orgy of signal frequencies writhes around us delicately battering our impenetrable skin with non-ionizing radiation.
The electromagnetic spectrum covers a wide frequency range. Our senses can decode a small segment of this spectrum. The rest can be detected through the use of technology.
Invisible Data Traffic
Wireless networks and technologies such as Bluetooth and infrared facilitate data exchange and social interaction based on proximity of device. Walking through a section of the city, Bluetooth wireless netwoks belonging to private homes or businesses and commercially provided mobile phones create a complex network of invisible electronic traffic. This is a parallel layer of reality that although unseen is responsible for an increasing proportion of everyday commercial and personal transactions.
Some of these frequencies represent human traces within the city. Types of signals that may be present include: GSM, UTSM (3G), Wi-Fi, Bluetooth, Mesh Networks (5.2 – 5.8 GHz), VLF, FM, MW, LW etc.
This project proposese an investigation of marginal space the space between transmission (tx) and reception (rx).
What is out there that we cannot see?
Could be socially useful at somepoint in the future to be able to visualise these invisible electromagnetic fields/activity?
Audio-Viualize these signals
Who owns this space
Public Vs. Private space – who can write to it and who can read from it?
Is it possible to use the immaterial to create art?
Can this be documented and the documentation used in place of the original thing?
An example of the importance of documentation can be found in:
Digital Performance: A History Of New Media In Theatre, Dance, Performance Art and Installation. Steve Dixon
Pg371 Chapter 15 ,Virtual Reality: The Search for Immersion
Placeholder (Brenda Laurel and Rachel Strickland 1993 VR piece)
Commentry from Katherine Hayes – Placeholder wasn’t seen by many people the video documentation is as much or more the work of art than the piece itself – Walter Benjamin’s sense of the aura of originality is almost completely dissipated:
“When matter and information begin to copulate, more is destabilized than contemporary constructions of the body…Just as it is no longer sufficient to think of the body as flesh or code alone, so it is no longer sufficient to accept distinctions that rely on putting artists in one category and technicians in another, or of originals in a gallery and copies in walmart. It is not only the human body that is undergoing a sea-change. Also in the throes of mutation is the body of art.”
Lucy Lippard “Six Years: The Dematerialisation of the Art Object”
b. 1936 in New York, USA
Originaly a painter who created works arranged during during exhibition so that drew attention to the walls of the exhibition space and incorporated the walls of the exhibition space into the composition.
In 1967 he abandoned painting and began using materials that were inaccessible to visual perception e.g. inert gases (argon, xenon etc) into the atmosphere, radioactive rays, and inaudible radio waves in the Siegelaub Gallery, New York.
In 1968 he began creating purely linguistic pieces.
Barry’s work has been cited as prime example of the dematerialisation of art. A feature of conceptual art. The dematerialisation of art the work ceases to be or need to be physical and instead becomes a virtual materialisation in the imagination of the beholders as they update the concept of the work on each occasion.
Daniel Marzona (2005) Conceptual Art Taschen
The question is is thought material?
Can thoughts be objects?
Conceptual art is now old fashioned – a product of its time – the politics of that age etc
Is making work like this still relevant?
The concept of a virtual materialisation in the mind of the beholder seems to apply to artworks using digital media – is this the case?
For this project I envisage collecting data by carrying out a series of slow derives through the city and examining the range of frequencies that are present within our cities and then representing them using sound and video.
Motion control would enable an automated survey of the frequencies present.
Propose a series of slow derives through the city gathering data
One possible idea would be to create a motion control time lapse film of various areas of the city and overlay the signal data as visualisations of these frequencies, text from the data etc and include sound from the different field recordings.
Alnick is currently pioneering a system of mesh networks. One plan would be to focus on Mesh Networks as a relatively unstudied phenomena.
Rather than every computer having to connect node to client computers can connect node to node. This allows a greater geographical spread from the client.
They have been proposed as the future of internt connectivity.
Mesh networks operate at 5.2 – 5.8 GHz node to node and then 2.4GHz node to client.
Data Log app for iPhone using magnetometer (EMF measurements), blue tooth (signal strength + names of phones, objects, computers present), 3G signal strength, GSM signal strength, GPS (coordinates, name of satellite etc) + time lapse camera photo.
All this data would be logged against time and be available for download onto a computer for analysis.
Such an app would mean that much data collection could take place using just the phone.
Arduino driven sensor array – logged into max msp? Use coll object? And then analysed in processing.
One pixel sensor for different signal frequencies, use servos to make it detect one pixel at a time and build an array to create a full picture.
Use this to create time lapse motion film. Use motion control rig to create motion control time lapse Hz measurements to visualise these different bandwidths of signals over the city. This data could be used to map the city and create an overlay to google maps etc.
Writing to the ether.
Complex electromagnetic fields have been posited as the cause of altered experiences . They have been labelled Experience Inducing Fields (EIP).
It is known that powerful EMF’s applied to the visual cortex can induce temporary blindness.
Create an array of tx tranmitting at various frequencies to emulate these complex EMFs
What effect does this have apart from probably being unethical….
Possible papers to read:
Randall, W., & Randall, S. (1991). The Solar Wind and Hallucinations – a possible relation to magnetic disturbances. Bioelectromagnetics
Bell, G.B., Marino, A. A., & Cheeson, A. L. (1992). Alterations in brain electrical activity caused by magnetic fields: Detecting the detection process. Electroencephalography. Clinical Neurophysiology
What do these signals represent?
The medium is the message in this case because the signals are not being decoded.
Marshall McLuhan Extensions of Man
Cities – spaces of flow
Money, power, information
1) Digital Media Culture: Theory and analysis
How useful are concepts such as “soundscape” and “landscape” in this project?
What are the equivalents to “imagination” and “vision” when talking about Electromagnetic Frequencies? How do we “envision” the future and the past in terms of Electromagnetic Frequency?
What are the legacies for linguistics, semiotics, and other theorys of language for Digital Media studies in this field?
2) Politics, Identity, Memory
How do signals relate to the production of identity and cultural memory?
How do current models of digital media theory history account for text, language and signal? How should they be modified?
4) Could this project integrate concepts such as “multi-modality” and insights
from psychology? To create something other than an audio visualization, another way of experiencing these phenomena.
Reading about Memes (the behavioral equivalent of a gene) to extend Darwinian principles into the explanation of how ideas and cultural phenomenon spread.
Found this applet that shows how complex forms can arise from random mutation:
Elucidating coded patterns, deciphering abbreved data nomenclature and invoking commands, CHAR NUL SOH STX ETX DEC EOT ATMY ATCD \r
Replacing and updating an erroneous mental model containing a third imaginary element created from the purest confusion. A finger pointing at the moon, precious time was wasted in the contemplation of the digits on that finger.
Then the simple relevation:
When Xbee radio modules, sensors and arduino hardware properly connected and configured, baud rates match, and the software kept simple – wireless communication is actually quite easy…Well after spending about 8 hours running every possible variation in hardware and code, reading virtually all the online and published literature, returning to protection mode – the sanctuary of safe established working sketches, pulling everything apart and beginning from scratch, programming the radios, checking the connections, butchering and eviscerating the code, experimenting with Baud rates, then it would have to be…
The utopian vision of a wireless future materialised as reality, existence aided and enhanced through the perceived jouissance of the perfect Flow experience… intelligent objects reacting to the environment and communicating with other objects, teleogical mechanisms of liberation. Liberation from the harrowing and the menial – namely the plugging in of wires and the ensuing restriction. Well that is this reality! Never had the twitching of numerals in a Max number box been so splendid…
Previous experiments with Xbee’s have had a gradient of results. A connection between two arduinos each with a Libellum Xbee shield had functioned well until taken apart again and had when reassembled eluded detection of the problem. Soon forgotten that remained unresolved.
The final project specification outlines a wireless connection between sensors mounted on the instrument and the Max patch being controlled and a return to Xbee technology.
This experiment focused on linking a battery powered free roaming arduino with Xbee shield and single potentiometer to a lobotomised arduino (an arduino with the atmel chip removed), Xbee radio shield and interfaced to a computer using the FTDI USB connection on the Zombuino, from here the data was parsed by Max MSP ready to control parameters within the Max Patch.
When a Xbee module receives data by serial from the Arduino it in turn transmits this data as radio signals. So data that could be printed to the serial monitor in the Arduino IDE using Serial.print (or the less common Serial.write) enables wireless data transmission. The Xbees conveniently handle the construction of the data packets with headers, bytes, and parity. This is demonstrated in Making Things Talk (Tom Igoe)- Wireless Communication page 203, O’ Reilly. In this example, one way radio transmission of sensor information is demonstrated including the ability to set the destination addressing for the Xbees (and all other commands) with Arduino code. Initially, It is clearer to keep this seperate and handle this procedure via the Xbee Serial Terminal and a Zombuino. Though this will mean typing commands directly to the Xbee modules it also enables the verification of the stored Destination Address in each Xbee allowing more control when debugging a setup.
Xbee 01 Zombuino, Arduino Duemilanove, ATDL 1234, ATMY 5678, Connected to Computer
Xbee 02 Arduino Deceimilia, flash_xbee01_v2.pde – code, ATDL 5678, ATMY 1234
Use XbeeTerminal.jar to program Xbee transceivers
9600 Baud in Max patch.
Making Things Talk (Tom Igoe)- Wireless Communication page 203, O’ Reilly
Cognitive Behaviour and Sticklebacks, Everett, J. Wyers. (1985)
Robert Faludi, (December 2010) Building Wireless Sensor Networks, O’Reilly
I seem to be confronted with eye popping coincidences recently – The climax of Funeral Parade of Roses – Toshio Matsumoto’s counter culture classic, dianetic past life regression demonstations and supposed murders, Un Chien Andalou bulls eye razor scene – match cut with clouds occluding the moon… and the graphic depictions of violence to the eye contained in The Story of Eye, Georges Bataille (1928) -Loving the proto – Crash of “I remember that one day, when we were in a car tooling along at top speed, we crashed into a cyclist, an apparently very young and very pretty girl. Her head was almost ripped off by the wheels. For a long time, we were parked a few yards beyond without getting out, fully absorbed in the sight of the corpse. The horror and despair at so much bloody flesh, nauseating in part, and in part very beautiful, was fairly equivalent to our usual impression upon seeing one another…”
A Charge-Transfer Touch Sensor
Projects a sense field through dielectric substances like glass, plastic, stone and most types of wood. Turns metal bearing objects into touch or proximity sensors.
These will be used on the instrument and skulls.