mac online apple blackjack http://www.euro-online.org

Final Project: Setting up

IMG_20140919_150852

Unfortunately, black-and-white televisions could not be connected with computers. So, the Action B appears.

I would like to keep using B/W televisions as creative medium in this piece of work. And it will handle the part of literally embodied noise of signal. And there are three 24″ screens which are outputted the images on the computers showing the reflective images from the variable noise in the space.

A great thanks for technical team in Cultural Lab.

Final Project: Three visions

1

Step by step, after figuring out what I am making, can I call this project is ‘The illusion of time and you’?

To some extent, it looks more like the advanced vision of our group project of the theme of ‘time’ in the aspect of time, space and individuals by interaction…

Finally, I remain making things by subconsciously…

Vision 1 – B/W vision of time-delayed image:

Vision 2 – random particles with time-delayed image (responding by sound feedback):

Vision 3 - variegated image  (responding by sound feedback):

Final Project: Inspiration of screens

IMG_20140802_111346

The sketch of prototype

After talking with tutor who suggested me to think about some issues that might be happened in building the technical part, I changed the mind of using projections and cloths, instead using old televisions under the consideration of interactive experience and retrospective development of technology.

The idea was built based on triptych (The triptych form arises from early Christian art – Wikipedia) which shows the religious content in the history of this art form. This art form was inspired me in the aspect of using three different forms of ‘one’ to show multi-layer visual experience by interaction.

Master of the Beffi Triptych 
The Madonna and Child with Scenes from the
Life of Christ and the Virgin (The Beffi Triptych)
 
early fifteenth century

The Haywain, Escorial

Example of old television

Notes of favorite sentence

Remain silent, and the space remains silent. Snap your fingers, and the space responds. (p.16)

Darkness creates a visual demarcation of a space, and background noise creates an auditory demarcation. (p.21)

Spaces Speak, Are you listening? (Blesser, B. and Salter, L. )

Research Methods: Installation Review

图片1

Doing the installation review is a way to look back artists who are exploring the acoustic arts of space perception and get a clearer thought of this summer project in terms of the conception of interactive sound feedback.

Acoustic arts stand the position of implication, which, invites people to get the consonance of the individuals and the creation spontaneously during the process of perception. These five art works, more or less, present the exploration about the connection of internal and external behind the phenomenon, such as emotion and experience, the constructed space and external world, traditional elements and the variation.

As the creative art form, it is a new way to explore human perception and the interactive experience with space by the form of acoustic sound, as well as the way of ‘acoustic experiment’. These installation art works question me how to define the creative arts in the acoustic level and, where is the balance point of exploring human perception and the new experimental form by using technology? If the acoustic installation art shows the strongly implication to ponder the relationship of human, creation and environment, the restriction might impel artists to go back to the issues of individuals’ different cognition to the space after they doing the experiments by using technology to explore the possibility of human perception.

Technology, as the medium in this situation, also might bring the more complex issues of  ’how’ it could be a way of seeing our world, rather than doing the practice of making participants being part of the interactive creation.

Drone (Bako 2013)
The work explores the themes of trauma, stress, surveillance, memory and the psychoacoustic effects of sound on the body.

The Bird Tree (Kubisch 2003)
Audience can hear incredible songs and combinations of birds with specialized headphones when they move around the wall. Some songs may be completely new to the listener.

DER OFFENE SCHALTKREIS (OPEN CIRCUIT) (Schaltkreis 2011)

A silent labyrinth created out of open copper trails on the floor carries the electrical signals of a multichannel sound repository.

Discipline (Rogalsky 2011)

It is a choir of electric guitars wired so that each guitar’s pickups cause its strings to resonate in response to an (unheard) classic rock radio station.

Tokyo Circle (Behrens 2000)
‘Tokyo Circle’ is an interactive audio installation based on a changing virtual acoustic space that responds to the movements of the spectator.

Reference
Bako, A. (2013), Drone, Available at: http://www.apbsound.com/2013/drone/ [Accessed  18 May, 2014].

Behrens, M. (2000), TOKYO CIRCLE, Available at: http://marcbehrens.com/proj/tcircle.html/ [Accessed 17 March, 2014].

Kubisch, C. (2003), The Bird Tree, Available at: http://www.christinakubisch.de/ [Accessed 18 May, 2014].

Haag, C. Rumori, M. Windisch, F. and Zeller, L. (2011), Offener Schaltkreis, Available at: http://osk.openkhm.de/ [Accessed 17 March, 2014].

Rogalsky, M. (2011), Discipline, Available at: http://www.youtube.com/watch?v=fsKeRLzkSyw/ [Accessed 17 March, 2014].

Research Methods: Contextual Review of Database

IMG_20140519_210712

To use contextual review is the way to find the clues to address the issue of data visualisation in terms of the situation of ‘we live in a world where there is more and more information and less and less meaning. – Jean Baudrillard‘. Meanwhile, to use interactive perception of art and technology to invite participants to establish the relationship of creation and the environment in the level of real-time feedback.

1. Data as a creative asset

Digital artists have a role to play in influencing the way in which others approach the data that has been made available. They can open up all sorts of possibilities for new kinds of collaboration between science, commerce and artistic intentionality. They can also show how data can become the means by which communities are drawn into discussion about key social issues such as local amenities, access to technology, training or other important agents of social change and improvement. [...] The digital medium is also dynamic and can respond to a changing data flow and the real-time transmission of data. [...] It is important to point out that the digital medium is not by nature visual but always consists of a ‘back end’ of code or scripting languages that mostly remain hidden and a visible ‘front end’ that is experienced by the viewer/ user, the later being produced by the former.” (Colson 2007, p68)

The purpose of referencing this character is to understand how data base has been used in the field of arts, the relationship of art-data and the restriction of using data in this area.

In the previous pages of the book The fundamentals of Digital Art, the author Colson referred to the current world is now inundated with the large amount of citizen’s information accompanied with influencing decision making (from the Internet) and the reason of that digital artists uses data to improve their art works, including power of data, found material from information-based society, and data is dynamic.

After reviewing this character,  it was much clearer in terms of understanding the fields of digital media (e.g. Data visualisation, Computer vision, and digital art with scientific methodologies) and its application, as well as the characteristic of data – measurable and predictable (Colson 2007, p66).

In the art works examples in this book, it also could be found that, from 1966 to 2006, artists engaged with the possibilities of using everyday material of text (in the early period of experiments)/data (which can be found in the contemporary digital artwork) became a medium of a different order in the transdisciplinary areas, such as conscious perception by using database. For example, Loc Reverb ( Colson, 2003).

 Studies in Perception(Knowlton and Harmon 1966, p68)

and Decorative Newsfeeds in the piece of art and money online (Thomson and Craighead 2006, p73)

This type of experiment inspired me to develop transdisciplinary of creative art in the type of data-based artwork, and database of net community in a specific place, which could be a way to establish real-time perception of data collection and feedback for participants.

2. Data type
To understand data type is a basic way of targeting the relevant technology for developing this project. There are three types - Local data, Data collected via the Internet using user inputs or requests, and Information collected from different places, and then made available to control events at one specific location.

In terms of this summer project, according to the interaction of audiences and real-time data collection in the space, the local data will be adapted choice. Local Data Database information from the environment such as webcam responses, sound, tactile inputs, temperature, movement or position,  which is available on a computer’s local hard drive. (Colson 2007, p70)

The difference between Local Data and information collected from different places: IC normally need to be supported by GPS (Global positioning system) information about the current location of large sea mammals. Technologies required: GPS receiver and transmitter. Access to the Internet, programmed to interpret and Use GPS data. But Technologies required for Local Data mainly based on Sensors, webcams, micro controllers. PHP, MYSQL for database enquiries and data collection.

*PHP(Hypertext Preprocessor) is server side language that is invisible to the viewer but adds functionality to a web page.

*MYSQL is a piece of software that is used to describe databases. It has an instruction set for writing and retrieving data. The data is accessible across all platforms.

Reference
Colson, R. (2007). The fundamentals of digital art. Lausanne, Worthing: AVA Academia.

Research Methods: Transdisciplinary Review

This review is based on the context of how to perceive the visualisation in  a space. To understand the relationship of human perception and their interaction in the environment in the level of neurology. The purpose is to build up the part of visualisation for the summer project in the rational level.

1. Human perception of eyes movement

Cutsuridis (2008) pointed out in the article Neural Accumulator Models of Decision Making in Eye Movements that humans and animals are constantly obtaining a guide from both external and internal cues from a variety of possibility when they interact with environment, which established the neural models of decision making influencing their behaviour.

Decision making, in fact,  is applied in a wide areas, from cognitive and behavioural neuroscience to artificial intelligence, and it also involves in the fields of economics, sociology, statistics, computer science and ethology. (Cutsuridis 2008)

He discussed eye movements are the important part to understand decision making in the level of neurology, as eye movements must be constantly capturing potential visual targets as the next end-point to get link with the previous one. Meanwhile, referring to Brain Anatomy and physiology in the later section of this article in terms of visual information from two distinct pathways of eyes.

It can be seen that human’s decision making based on the potential visual change of the environment through neurological character, which is to capture the different/vivid/fresh/unfamiliar object in the space. This review helps to build up the concept of environmental real-time visualisation by the way of vivid form to make the positive interaction between audiences and the environment.

2. Consciousness and Unconsciousness

Chalmers (year unknown) distinguished ‘easy’ and ‘hard’ problems of consciousness, and questioned consciousness in the level of objective and subjective experience through brain mechanism of cognitive system. He concluded that visual sensations we are experiencing can be called consciousness.

Although, the consciousness concept cannot be defined easily in one or two words, since it is multiple concept based on the individuals and the context of what we are experiencing in different background. As Franco (2008, p286) said ‘The consciousness concept is hybrid, connoting a number of different concepts and phenomena.‘, consciousness is closely linked to multi-layers’ cognitive base. He also pointed out that consciousness and attention cannot be separated, in fact, the study of visual consciousness helps us to understand ‘consciousness’, which involves in the relationship of consciousness and the unconscious of attentional mechanisms.

This part of review inspired me to present the contrast form of chaos and well-organised during participants are experiencing, observing and receiving the feedback  of sound and visualisation in the space.

3. Cognitive Neuropsychology/ Behavioral Neuroscience

Goldstein (2011) used ‘ball case’ to refer the viewpoint of distributed processing in the brain. More specifically, if a person is perceiving a rolling red ball, he / she just see the object without thinking its colour, shape, location, and how it moves. However, the brain with a wide distribution of activity has already done to deal with the message behind the phenomena, and the cognitive process, including memory, language, making decisions and problem solving, is distributed and work together in the brain. (Goldstein 2011, p37)

This is the interesting part as a reference in the context of review of neural cognition, which impels me to think about the setting of object (loudspeaker and microphone) as dynamic for this project – if it could be achievable after doing the further experiment.

4. Spatial Perception

Our environment does not simply consist of multiple objects, but multiple objects which exist in definable spatial interrelationships. It is only when relatively precise spatial information is being used that we are even aware of thinking ‘spatially’.’. (McCarthy 1990, p73)

Spatial processing, as the highly complex activity in the context of cognitive function of brain, could help us understand how human convert their perception in different status, as well as how to establish the relationship between people and the environment. McCarthy (1990) gave an example of patients with cerebral lesions in investigations of spatial processing, which was documented that the most active perception of patients was in the visual area of brain. Moreover, in terms of cognitive function of spatial perception, she also clarified that the theoretical account could involve in the issues of spatial representations and the interrelationships.

It can be considered that people perceive the spatial information based on the objects that our eyes capture in the environment, and how the brain define the status by consciousness and unconsciousness linked with our knowledge base and experience. The visual field domains the highly important part in terms of perceive the position precisely. However, it could be assumed that people perceive their position and establish the relationship with the space more easily in the 3D dynamic immersive condition, as being part of the environment.

Reference
Goldstein, E. (2011). Cognitive Psychology. Australia: Belmont, CA: Wadsworth/Cengage Learning.
Hussain, A. Aleksander, I. Smith, L. Barros, A. Chrisley, R. and Cutsuridis, V. (2008) ‘Brain inspired cognitive systems’. Neural Accumulator Models of Decision Making in Eye Movements [online]. Available at: Springer. http://link.springer.com.libproxy.ncl.ac.uk/book/10.1007%2F978-0-387-79100-5/.  (Accessed: 17 May 2014).
McCarthy, R. (1990). Cognitive neuropsychology : a clinical introduction. San Diego: Academic Press.

Digital Media Project: A Moonish Installation

pdGem

Documentation of A Moonish Installation

Flashy Version (the version with ringing sound)

Creative Arts Practice for Digital Media Project 2014.

This interactive installation is controlled by Arduino and a USB camera, which captures the light status and ‘request’ the light by the way of ringing and changing colour of the rotatable flower randomly to attract participant’s attention if too much light is blocked on the top of the installation. It shows the opposite colour (i.e. white for the demand of dark and black is for the need of light source) in alternative light condition (dark / bright) that the installation can be captured, and impels the participant to response it as a part of the creation.

The code was programmed by Processing and Pure Data and outputted by two different visual forms through interaction. This installation was designed to invite participants to ponder the perception and interaction, immersion and embodiment, partial and the whole by digital arts throughout the interactive process.

—————————————————————————————————————-
Project Code:

Processing Part:

import ddf.minim.spi.*;
import ddf.minim.signals.*;
import ddf.minim.*;
import ddf.minim.analysis.*;
import ddf.minim.ugens.*;
import ddf.minim.effects.*;

import processing.serial.*; // import the Serial library
Serial myPort;

Minim minim;
AudioPlayer sou; // variable name

float sensorValue;
float angle = 0;
int x = -142;
int y = -112;
int smallPoint, largePoint;

PImage img;

PShape SVG01;
PShape SVG02;
PShape SVG03;
PShape SVG04;
PShape SVG05;
PShape SVG06;
//PShape SVG07;
PShape SVG08;
PShape SVG09;
PFont font; // showing the sensorValue

void setup() {

// font = loadFont(“Serif-24.vlw”);
size(1300, 800);

// println(Serial.list()); // print a list of available serial ports
/* better way to print this
for (int i=0;i<Serial.list().length;i++) {
println(“["+i+"]“+Serial.list()[i]);
}
*/

myPort = new Serial(this, “COM7″, 9600);
myPort.clear(); // Empty the buffer, removes all the data stored there.
myPort.bufferUntil(‘\n’); // Throw out the first reading, in case we started reading
// in the middle of a string from the sender. (start buffer Until “\n” is read)
smooth();
SVG01= loadShape(“img1.svg”);
SVG02= loadShape(“img2.svg”);
SVG03= loadShape(“img3.svg”);
SVG04= loadShape(“img4.svg”);
SVG05= loadShape(“img5.svg”);
SVG06= loadShape(“img6.svg”);
// SVG07= loadShape(“img7.svg”);
SVG08= loadShape(“img8.svg”);
SVG09= loadShape(“img0.svg”);
SVG51= loadShape(“img51.svg”);
SVG61= loadShape(“img61.svg”);
SVG81= loadShape(“img81.svg”);
}
void draw() {
background(255);
fill(0);
//textFont(font, 24);
// text(“sensorValue= “, width*0.3, height/2);
// text(sensorValue, width*0.55, height/2);
pushMatrix(); // save the current coordinate system to the stack
// translate to the center of screen
translate(width/2, height/2);
// rotate everything when the frameCount adds up
rotate(frameCount*0.01);

// small flower
if (sensorValue>300 && sensorValue<=400) {
fill(0, 180);
SVG09.disableStyle();
shape(SVG09, x+10, y+10, sensorValue+15, sensorValue+15);
SVG01.disableStyle();
shape(SVG01, x+10, y+10, sensorValue+15, sensorValue+15);
}
// bigger flower
else if (sensorValue>400 && sensorValue<=500) {
fill(0, 180);
SVG03.disableStyle();
shape(SVG03, x-20, y-20, sensorValue+20, sensorValue+20);
SVG04.disableStyle();
shape(SVG04, x-30, y-30, sensorValue+25, sensorValue+25);
}
// random colour
else if (sensorValue>500 && sensorValue<=700) {
//Audio is triggered
minim = new Minim(this);
sou = minim.loadFile(“ESA_installation.wav”);
sou.play();
fill(random(0, 100), random(0, 100), random(0, 100), 80);
SVG05.disableStyle();
shape(SVG51, x-60, y-60, sensorValue+60, sensorValue+60);
fill(random(100, 200), random(100, 200), random(100, 200), 150);
SVG06.disableStyle();
shape(SVG61, x-50, y-50, sensorValue+35, sensorValue+35);
fill(random(200, 255), random(200, 255), random(200, 255), 50);
SVG08.disableStyle();
shape(SVG81, x-60, y-60, sensorValue+40, sensorValue+40);
}

// else if (sensorValue>700 && sensorValue<=800) {
// fill(random(0, 100), random(0, 100), random(0, 100), 100);
// }
else {
fill(255, 150);
SVG08.disableStyle();
shape(SVG08, x+30, y+30, sensorValue+300, sensorValue+300);
}

popMatrix(); // restores the prior coordinate system
}

void serialEvent (Serial myPort) { // SerialEvent is called when data is available.
// get the ASCII string:
String inString = myPort.readStringUntil(‘\n’);
if (inString != null) { // only does the following when there is something
// convert to a float
sensorValue = float(inString);
}
}

Arduino Part:
void setup(){

Serial.begin(9600);
}
void loop(){

//Serial.println(sens);
Serial.println(analogRead(0));
delay(500);
}

Pure Data Part:

Environmental Sound Art: Experimental Sound & Soundscape

This work was made by the delay effect of Pure Data that captured and reacted surrounding sound directly as the way of exploring different possibility of environmental sound from a limited space. It was an experimental piece to collect the feedback from the sound of wood blocks and noise via playing drum head and snare wires with 20 strands connected with loudspeaker in that place.

This piece of soundscape was recorded in Newcastle upon Tyne 2014, and it mixed two versions up from different periods of time (daytime in the early Spring and evening in the end of Spring). It was created after several trials by building the concept of the comparison of soundscape in the context of cityscape and the issue of animal habitats. Noise (e.g. car waves and electronic noise from machines), as the part of the product in the industrial world, represents the change of landscape. I used headphone and a perspex box as the way of outputting the first recording, which could be heard like the residual noise.

This piece of soundscape was mixed two states of recording up in Newcastle University. The one that I stayed beside the dried leaves to do the recording in last Christmas Day near the campus, and another one was made by walking around the campus in May 2014.

This piece is an environmental sound art work which was performed by different cobblestones in Whitley Bay of Newcastle upon Tyne nearly 2 months. There are totally 5 pieces – 4 pieces were performed on different sea rocks in the bay and the last recording ended when tide rose. It was mixed together for several experiments. This piece is the one that I used 4-channels installation to combine them together for the metaphor of time, space and memory.

DM8013: Proposal – New perception of energy conversions in daily life

The concept of this project is to make the possibility let users who can perceive the energy conversions (e.g. light energy to sound energy, solar energy to electricity etc.) in our daily life in an artistic way by interaction as well as to evoke participants to think about the commensal ecology behind the phenomena. In this project, users are able to experience this energy conversions by the process of photosynthesis of visual plants. More specifically, they can ‘foster’ visual flowers through triggering photoresistors by hands moving, and flowers will respond users by electronic sounds. In terms of electronic sounds, part of the inspiration comes from electromagnetic wave and capturing the electronic sounds from daily machine (e.g. Cash Point, Lighting and Lift etc.) by inductive microphone.

The concept of this project can be achievable with the technical skills that we have learned in the digital media sessions. More specifically, Processing, Pure Data and Arduino will be mainly used. For example, Processing will process blooming flowers which can be triggered synchronously by hand moving onto the phtoresistors. In the previous sessions of Processing, we have learned ’random’ and ’color’ value that can be used in this project in terms of this image part. Regarding the sound part, Puduino can process this part which has be taught the basic related skills in Live Electronic Performance session. More specifically, the effect of variation is that each flower matches one photoresistor, and image of flowers and electronic sounds can be triggered by photoresistors.

For the reference of recording practice, Toshiya Tsunoda and Haco who are Japanese artists used inductive microphones to capture the electromagnetic sounds from metro in the project called The Tram Vibration Project (2006). Besides, Benjamin Gaulon’s project called L.S.D also provides the possibility of how to transfer light to sound that encourages people to perceive daily environment in a new way.

There will be the risk of programming during the project development, that is, the effect of flowers growth programming. For this risk, it can be solved by doing the experiment of changing the related open code from Processing public source and by asking phD students who have more related experience for the further improvement of programming.

To sum up, this project will encourage users to perceive another way of conversions light and sound energy which exists and is used in our everyday life, and to experience the photosynthesis of plants by themselves. Furthermore, this project also tend to evoke users to think the commensalism and the philosophical question of ontology during the interaction.

Notes
1. Electromagnetic radiation with a wavelength between approximately 400 nm and 700 nm is directly detected by the human eye and perceived as visible light. (Starr 2005)
2. Electromagnetic waves occur naturally, they exist, they are everywhere, constantly passing  through our bodies, yet with our natural senses we can only perceive heat and light. (Rhei 2006, p. 15)

Reference
Demers, J. (2010). Listening through the noise: The aesthetics of experimental electronic music. New York : Oxford University Press.
Gaulon, B. (2012)  L.S.D. Available at: http://www.recyclism.com/lsd_sonicgraffiti.php/ [Accessed at 23th March, 2014].
Starr, C. (2005). Biology: Concepts and Applications. Wadsworth Publishing Co Inc.Tsunoda, T and Haco (2006). The Tram Vibration Project. Available at: http://vimeo.com/70418685/ [accessed by 5 March, 2014].
Wave Interference – Short Questions With Answer. Available at: http://www.myhsebnotes.com/2013/09/interference-of-wave-short-questions-with-answer.html/ [accessed by 5 March, 2014].
Rhei, P. (2006) Waves. RIXC.