Re: [NetBehaviour] Language and Object
dig what ur saying at the end. gun kills computer. yet, stories may escape and find meaning... Alan Sondheim wrote: > do you have to be anything to do art? > > no - > > On Tue, 8 Jun 2010, codebreaker wrote: > > >> do you have to be smart to do art? (sorry to answer your question with a >> question. this statement may or may not help. somebody call me a >> spambulance) >> CODEBREAKER >> >> >> Alan Sondheim wrote: >> >>> Language and Object >>> >>> >>> A texture, tested.png, is created with the phrase "i don't understand >>> you're saying" overlaid with the word "ALIEN". The texture is applied to >>> numerous objects in the Second Life environment; the texture is also >>> inserted in the particle generation script. When an avatar sits on a >>> scripted object, particles spew out, carrying the same text as the objects >>> themselves. The result is a fireworks display of tested.png spews from >>> tested.png emitters. The display is like nothing in physical reality; at >>> the same time, it's tethered to the "ALIEN/i don't understand what you're >>> saying" text. >>> >>> The problem, theoretical and practical, is this: How does alienness func- >>> tion, given the self-referentiality of this text? (Or, in fact, any text >>> at all? For it isn't so much the specific content, as the act of scanning >>> and reading familiar graphemes, words, and so forth, that sets the scene.) >>> Does the act of reading take away from the mise en scene (as alien, other >>> worldly - as elsewhere and elsewise) reducing it to a form of concrete >>> poetry - or does the mise en scene "alienize" the inscription - and, by >>> implication, any inscription, itself? >>> >>> The former seems to be the case; as relevance theory has it, a determin- >>> ation occurs, creating a steering-mechanism as habitus for the viewing >>> session. Think of this as a detour or masquerade, the habitus within a >>> potential well, keeping everything in order. >>> >>> In the real world, disguise of anomaly is equivalent to a problematic >>> shift to the familiar. Thus anomaly may be constantly hidden: a bomb as >>> lunch-box, for example - and the real as classical logic, with quantum and >>> cosmological anomalies kept at a distance. This references the phenomeno- >>> logy of nearly autonomous levels, without which life would be, literally, >>> at a loss. >>> >>> In virtual worlds, we can experiment with all of this - keeping the alien >>> or familiar at bay - with (mostly autonomic) gestures whose stakes are >>> high in the real, gamed and (presumably) lower online. Thus the virtual is >>> the safe world/word for the real, until the real overwhelms us all.* >>> >>> http://www.alansondheim.org/tested.png >>> http://www.alansondheim.org/alientalk.mov >>> >>> *And when this happens, inscription disappears, there is nothing further >>> to be said; without memory or organism, the flat world shudders to a halt. >>> >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >>> >>> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> > > > == > email archive: http://sondheim.rupamsunyata.org/ > webpage http://www.alansondheim.org > music archive: http://www.espdisk.com/alansondheim/ > == > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Language and Object
do you have to be anything to do art? no - On Tue, 8 Jun 2010, codebreaker wrote: > do you have to be smart to do art? (sorry to answer your question with a > question. this statement may or may not help. somebody call me a > spambulance) > CODEBREAKER > > > Alan Sondheim wrote: >> >> Language and Object >> >> >> A texture, tested.png, is created with the phrase "i don't understand >> you're saying" overlaid with the word "ALIEN". The texture is applied to >> numerous objects in the Second Life environment; the texture is also >> inserted in the particle generation script. When an avatar sits on a >> scripted object, particles spew out, carrying the same text as the objects >> themselves. The result is a fireworks display of tested.png spews from >> tested.png emitters. The display is like nothing in physical reality; at >> the same time, it's tethered to the "ALIEN/i don't understand what you're >> saying" text. >> >> The problem, theoretical and practical, is this: How does alienness func- >> tion, given the self-referentiality of this text? (Or, in fact, any text >> at all? For it isn't so much the specific content, as the act of scanning >> and reading familiar graphemes, words, and so forth, that sets the scene.) >> Does the act of reading take away from the mise en scene (as alien, other >> worldly - as elsewhere and elsewise) reducing it to a form of concrete >> poetry - or does the mise en scene "alienize" the inscription - and, by >> implication, any inscription, itself? >> >> The former seems to be the case; as relevance theory has it, a determin- >> ation occurs, creating a steering-mechanism as habitus for the viewing >> session. Think of this as a detour or masquerade, the habitus within a >> potential well, keeping everything in order. >> >> In the real world, disguise of anomaly is equivalent to a problematic >> shift to the familiar. Thus anomaly may be constantly hidden: a bomb as >> lunch-box, for example - and the real as classical logic, with quantum and >> cosmological anomalies kept at a distance. This references the phenomeno- >> logy of nearly autonomous levels, without which life would be, literally, >> at a loss. >> >> In virtual worlds, we can experiment with all of this - keeping the alien >> or familiar at bay - with (mostly autonomic) gestures whose stakes are >> high in the real, gamed and (presumably) lower online. Thus the virtual is >> the safe world/word for the real, until the real overwhelms us all.* >> >> http://www.alansondheim.org/tested.png >> http://www.alansondheim.org/alientalk.mov >> >> *And when this happens, inscription disappears, there is nothing further >> to be said; without memory or organism, the flat world shudders to a halt. >> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > == email archive: http://sondheim.rupamsunyata.org/ webpage http://www.alansondheim.org music archive: http://www.espdisk.com/alansondheim/ == ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Language and Object
do you have to be smart to do art? (sorry to answer your question with a question. this statement may or may not help. somebody call me a spambulance) CODEBREAKER Alan Sondheim wrote: > > Language and Object > > > A texture, tested.png, is created with the phrase "i don't understand > you're saying" overlaid with the word "ALIEN". The texture is applied to > numerous objects in the Second Life environment; the texture is also > inserted in the particle generation script. When an avatar sits on a > scripted object, particles spew out, carrying the same text as the objects > themselves. The result is a fireworks display of tested.png spews from > tested.png emitters. The display is like nothing in physical reality; at > the same time, it's tethered to the "ALIEN/i don't understand what you're > saying" text. > > The problem, theoretical and practical, is this: How does alienness func- > tion, given the self-referentiality of this text? (Or, in fact, any text > at all? For it isn't so much the specific content, as the act of scanning > and reading familiar graphemes, words, and so forth, that sets the scene.) > Does the act of reading take away from the mise en scene (as alien, other > worldly - as elsewhere and elsewise) reducing it to a form of concrete > poetry - or does the mise en scene "alienize" the inscription - and, by > implication, any inscription, itself? > > The former seems to be the case; as relevance theory has it, a determin- > ation occurs, creating a steering-mechanism as habitus for the viewing > session. Think of this as a detour or masquerade, the habitus within a > potential well, keeping everything in order. > > In the real world, disguise of anomaly is equivalent to a problematic > shift to the familiar. Thus anomaly may be constantly hidden: a bomb as > lunch-box, for example - and the real as classical logic, with quantum and > cosmological anomalies kept at a distance. This references the phenomeno- > logy of nearly autonomous levels, without which life would be, literally, > at a loss. > > In virtual worlds, we can experiment with all of this - keeping the alien > or familiar at bay - with (mostly autonomic) gestures whose stakes are > high in the real, gamed and (presumably) lower online. Thus the virtual is > the safe world/word for the real, until the real overwhelms us all.* > > http://www.alansondheim.org/tested.png > http://www.alansondheim.org/alientalk.mov > > *And when this happens, inscription disappears, there is nothing further > to be said; without memory or organism, the flat world shudders to a halt. > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Camus? youR invited
please check out: http://www.it-all.com/blog/index.php?seed=194&iControl=8 (note the iControl variable, i do control certain things, but i try to keep them to a minimum) CODEBREAKER ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Language and Object
Language and Object A texture, tested.png, is created with the phrase "i don't understand you're saying" overlaid with the word "ALIEN". The texture is applied to numerous objects in the Second Life environment; the texture is also inserted in the particle generation script. When an avatar sits on a scripted object, particles spew out, carrying the same text as the objects themselves. The result is a fireworks display of tested.png spews from tested.png emitters. The display is like nothing in physical reality; at the same time, it's tethered to the "ALIEN/i don't understand what you're saying" text. The problem, theoretical and practical, is this: How does alienness func- tion, given the self-referentiality of this text? (Or, in fact, any text at all? For it isn't so much the specific content, as the act of scanning and reading familiar graphemes, words, and so forth, that sets the scene.) Does the act of reading take away from the mise en scene (as alien, other worldly - as elsewhere and elsewise) reducing it to a form of concrete poetry - or does the mise en scene "alienize" the inscription - and, by implication, any inscription, itself? The former seems to be the case; as relevance theory has it, a determin- ation occurs, creating a steering-mechanism as habitus for the viewing session. Think of this as a detour or masquerade, the habitus within a potential well, keeping everything in order. In the real world, disguise of anomaly is equivalent to a problematic shift to the familiar. Thus anomaly may be constantly hidden: a bomb as lunch-box, for example - and the real as classical logic, with quantum and cosmological anomalies kept at a distance. This references the phenomeno- logy of nearly autonomous levels, without which life would be, literally, at a loss. In virtual worlds, we can experiment with all of this - keeping the alien or familiar at bay - with (mostly autonomic) gestures whose stakes are high in the real, gamed and (presumably) lower online. Thus the virtual is the safe world/word for the real, until the real overwhelms us all.* http://www.alansondheim.org/tested.png http://www.alansondheim.org/alientalk.mov *And when this happens, inscription disappears, there is nothing further to be said; without memory or organism, the flat world shudders to a halt. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Southbridge Slow Electronics today 4PM - 6PM CST AKA 11PM - 1AM CEST
an excerpt from our most recent Southbridge Slow Electronics Sundays on http://glitch.fm event is now online here: DOWNLOAD: http://bit.ly/cWUrSe ARTISTS: jonCates && Jake Elliott TITLE: eight minutes fiftyfour seconds from 2010.06.06 Chicago && Linz ALBUM: Southbridge Slow Electronics glitch.fm sessions RELEASE: slow_eightminutesfiftyfourseconds http://slowelectronics.com http://soundcloud.com/southbridge http://twitter.com/southbridge http://glitch.fm/slowelectronics_v2 http://www.facebook.com/group.php?gid=90743658549 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Extremely Random Net History Question
Does anyone know what happened to the ftp archive that used to be at - etext.archive.umich.edu and/or where nay of the material that used to be at it (apart from PMC/Postmodern Culture, which I have) can be found? - Rob. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Semiotics and Figure/Ground Relationships
On 06/06/2010 01:42 PM, Simon Biggs wrote: > Perhaps Umberto Eco’s Development of Medieval Aesthetics where he takes > a semiotic approach to understanding how representational space > functions as ideological and social form. Otherwise, Barthes Camera > Lucida, where he muses upon the emotional import of the photographic > image through a semiotic lens. The former sounds like what I am after. Thanks! - Rob. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] http://jwm-art.net/art/image/agaporp_dna.png
http://jwm-art.net/art/image/agaporp_dna.png ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] event transformation and propagation, grey fuzz, void, unformed, unknown
*event transformation and propagation rhythm data, pattern, doubly linked list data structure containment \ event position in time, event duration, \ box dimension as ranges min~max, box position unknown \ events sequenced in real time, box dimension fixed, \ ring buffer data structure containment of \ events in real time, event as box - position unknown \ boundary data structure containment of ringbuffer \ location in grid, x, y, dimension, w, h \ pulls events from ring buffer data structure \in real time, box position unknown. \ event box placement, freespace grid, binary data, \ event box positon x, y fixed, known, set \by placement algorithm depending on unused space \ available in freespace_state. placement as \ immediate reaction to sequenced of event. \ in real time. \ you are here --> event queued, voice array midi note channel, \ boundary containment of midi channel b l u r r i n g \ boundary containment of voice data b l u r r i e r \ticks, duration, --duration, current blurry blurry \ playhead tick position, next playhead blurred\ tick position, grey fuzz\ . void \/'\ unformed ,__.=.=. |'|'| v v v unknown / /^\ \ v\/v.v\/v /\vv/^\vv/\ /\/\/\_/\/\/\ \__/\_|_/\__/ '| _/+\_ \_ | +'| _/ \_|'+ |_/ _/ \ +'/ \_ /\+/\ V' '| |' '| |' '!* event transformation and propagation rhythm data, pattern, doubly linked list data structure containment \ event position in time, event duration, \ box dimension as ranges min~max, box position unknown \ events sequenced in real time, box dimension fixed, \ ring buffer data structure containment of \ events in real time, event as box - position unknown \ boundary data structure containment of ringbuffer \ location in grid, x, y, dimension, w, h \ pulls events from ring buffer data structure \in real time, box position unknown. \ event box placement, freespace grid, binary data, \ event box positon x, y fixed, known, set \by placement algorithm depending on unused space \ available in freespace_state. placement as \ immediate reaction to sequenced of event. \ in real time. \ you are here --> event queued, voice array midi note channel, \ boundary containment of midi channel b l u r r i n g \ boundary containment of voice data b l u r r i e r \ticks, duration, --duration, current blurry blurry \ playhead tick position, next playhead blurred\ tick position, grey fuzz\ . void \/'\ unformed ,__.=.=. |'|'| v v v unknown / /^\ \ v\/v.v\/v /\vv/^\vv/\
[NetBehaviour] my three little dots ...
my three little dots ... Language First name Last name Password Start Location: Enable sound: Grid: Background - island in the sunset ... Odyssey (118, 182, 88) - Odyssey NE Chat Contacts Map Search Nearby Avatars Inventory Stats Music Media Log out Instant Messages Local chat [12:16] flowertreefastdisapper: >> Sound Disk v1.1 >> Playing supplied name : 780e8a95-210e-09c1-50d2-1d13a5ba1d35. >> Listening on channel 69. [12:16] Flight Band: All Go [12:16] flowertreefastdisapper: >> Sound Disk v1.1 >> Playing supplied name : 780e8a95-210e-09c1-50d2-1d13a5ba1d35. >> Listening on channel 69. [12:16] miasma: >> Sound Disk v1.1 >> Playing supplied name : 780e8a95-210e-09c1-50d2-1d13a5ba1d35. >> Listening on channel 69. [12:17] You: look ... [12:17] You: There is always more, the world wraps around ... [12:18] You: ... fearful outside ... fearful ... [12:18] You: i am writing this because you can't be seeing this ... [12:18] You: every dot is a circular poetics of a world ... [12:18] You: ... poesis ... [12:19] You: ... this morning ... i thought ... nothing ... [12:19] You: but this morning i thought ... should nothing ... in fact ... [12:19] You: ... breathless ... [12:20] You: should nothing be ... on the line with i thought ... [12:20] You: ... seriously i did think that ... [12:21] You: seriously it did hold me there ... [12:21] You: ... or should ... or should ... nothing ... [12:21] You: be on a line of its own ... [12:22] You: ... tailing, contrailing ... [12:22] You: ... taking up space ... [12:22] You: look, the world wraps around ... [12:22] You: look ... Say ... Whisper ... Shout ... Search ... People ... Nearby Avatars Contacts Online Offline Groups Inventory * My Inventory Stats Region Ping sim125 ms FPS 44 Time Dilation 0.97 Objects 12001 Active Scripts 2790 Agents 1 Child Agents1 Incoming bandwidth 0 kbps Outgoing bandwidth 0 kbps Dropped packets 0 AjaxLife Server Sessions41 Parcel media Map Region: Position: Teleport Focus on you Clear Focus on target Go Home ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Turbulence Commissions: "WWW-Enabled Noise Toy" and "Moments of Inertia"
Turbulence is pleased to announce two new commissions: "WWW-Enabled Noise Toy" by Loud Objects and "Moments of Inertia" by R. Luke DuBois, with Todd Reynolds. "WWW-Enabled Noise Toy" by Loud Objects http://turbulence.org/works/noisetoy Loud Objects, NYC-based circuit sorcerers, present a wacky way to learn hardware audio programming. The "WWW-Enabled Noise Toy" invites anyone with a web browser to write their own audio code, program it remotely onto a Noise Toy, and play it live via webcam. In the spirit of "try it yourself" software demos, the website provides a simple environment for experimenting with low-level microchip-generated audio. Load code from Loud Objects' own library of performance algorithms, hone your own noise techniques, and add your work to the online archive to share it with other microchip coders and create an open source noise community. BIOGRAPHY Graduates of Columbia University, Kunal Gupta, Tristan Perich and Katie Shima have been performing as Loud Objects since 2005. Their performances, focused on sound from programmed microchips, have ranged from live circuit constructions on overhead projectors and slide projectors, to soldering atop a 24-light bulb fluorescent podium, and later with modified fluorescent light guitars. Loud Objects has performed in the USA and internationally at numerous festivals on four continents, including Sonar (Spain), Transitio_MX (Mexico), Piksel (Norway), Evolution (UK), Bent Festival and Blip Festival (NYC), Electric Eclectics (Canada), Screen Music 2 (Italy), Art and Music with the Overhead Projector (Germany), Festival of Endless Gratitude (Denmark), NIME (Brooklyn). Their varied performances range from solo acts to shifting duets with vocalists, drummers, susophonists, tuba quintets, laptop musicians, singers, painting machines, manatees, and recently as movie soundtracks. "Moments of Inertia" by R. Luke DuBois, with Todd Reynolds http://turbulence.org/works/inertia "Moments of Inertia" is an evening-length performance based on a teleological study of gesture in musical performance and how it relates to gesture in intimate social interaction. The work is written for solo violin with real-time computer accompaniment and video. "Moments" consists of twelve violin études -- ranging from 3-5 minutes in length -- each of which uses a different violin performance gesture as a control input for manipulating a short piece of high-speed film (300 frames-per-second) -- of a person performing a social gesture. Taking its cue from principles in physics that determine an object's resistance to change, the violinist's gestures time-remap and scrub the video clip to explore the intricacies of the performed action. BIOGRAPHY R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season. Exhibitions of his work include: the Insitut Valencià d’Art Modern, Spain; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemporary Art, Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; and the Sydney Film Festival. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. "Moments of Inertia" is a commission of New Radio and Performing Arts, Inc. for its Turbulence.org website. It was commissioned through Meet the Composer's Commissioning Music/USA program, which is made possible by the generous support of the Mary Flagler Cary Charitable Trust, the Ford Foundation, the Francis Goelet Charitable Lead Trusts, New York City Department of Cultural Affairs, New York State Council on the Arts, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund. Jo-Anne Green Co-Director New Radio and Performing Arts, Inc. 917.548.7780 or 617.522.3856 Turbulence: http://turbulence.org Networked_Performance: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Networked: http://networkedbook.org New American Radio: http://somewhere.org Upgrade! Boston: http://turbulence.org/upgrade_boston ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Build your own Electronic fun-box with Joker Nies & Rob Hordijk
Workshop June 25th 2010 12:00-18:00 Build your own Electronic fun-box with Joker Nies & Rob Hordijk In a one-day workshop, conducted by the buddies in electronic madness, Rob Hordijk and Joker Nies, participants will build an analog sound-device that is very different from what you usually will find with other DIY-kits. The kit will ONLY be available through attending the workshop, it is not sold separately. The Benjolin DIY-kit will be easy enough to build even for a beginner in electronics. After successfully building the instrument, which is guaranteed with the help of Rob and Joker, the workshop participants will take home a versatile and very unique analog synthesizer that can influence the behavior of other voltage-controlled modules through seven different control-voltages. It is also able to receive control-voltages for filter-frequency and both of its oscillators. The Benjolin is a ‘noise box’ that is ‘bent by design’, meaning that it always has a definite amount of unpredictability while it is still intuitive to play. The Benjolin features two eighteen-octave range voltage controlled oscillators that drive a ‘rungler’ circuit, circuitry that in essence uses a special interference technique feeding back into the oscillators to force them into wild chaotic behaviour. A special slightly chaotic filter is both excited and modulated by the signals from the rungler circuitry processes, producing sounds between fat drones to grungy noise havoc. The kit is somewhat more challenging to build compared to the Zeitgeist, but with a little patience and accuracy a beginner in DIY can definitely build it successfully. http://web.me.com/klangbureau/DIY/Workshop.html Rob Hordijk (The Hague, Netherlands) Originally a sculptor and jewelry designer, Rob has established himself over the years as an expert in sound synthesis techniques. In the last couple of years he specializes in hand-build analog electronic instruments that have distinct sonic signatures, instruments that are somewhere between musical instruments and objets d’art. His instruments are used in live performances by a number of established improvisers all over the planet. An example of an instrument designed by Rob is the Blippoo Box, featured in the upcoming 19th issue of Leonardo Music Journal. Rob has been teaching, lecturing and conducting workshops since 1983 at a number of institutes in The Netherlands, and occasionally in other places on this planet. Joker Nies (Cologne, Germany) He is a musician, sound-designer, sound-engineer, photographer and technical editor for the German Sound&Recording and Keyboards magazines. Recent activities include software synth-design in MAX/MSP for the German Keyboards magazine, and production and sound design for radio-plays for the German WDR radio-broadcast. Joker Nies is known for his energetic improvisations on unusual electronic instruments and re-built electronic toys all over Europe and the US. He has played with many established improvisers and is a.o. part of the trio Die Schrauber. Joker is a leading expert in circuit bending and has conducted many inspiring circuit-bending and DIY workshops in the whole of Europe and the USA. Schedule for Workshop: June 25th 2010 12:00-18:00 (Till the instrument is finished this could take one extra hour depending on the nr. of breaks) Workshop Location: @ NK Elsenstr. 52 2HH 2Etage 12059 Berlin Participation is limited to 15 participants. Registration: Pre-registration is required and can be done by sending an email to i...@nkprojekt.de Fee: 80€ (Parts) + 70€ (Participation fee Students get a 25% discount) = 150€ -- NK PROJEKT http://www.nkprojekt.de/ Elsenstr. 52/ 2.Hinterhaus Etage 2 12059 Berlin Neukölln 0049(0)17620626385 JULIAN PERCY http://www.myspace.com/ratbag_ http://virb.com/lastdominionlost http://www.myspace.com/todesgeistprojekt GRATIS für alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Fredrik Olofsson- Particular Sound- Prepare for the SC 2010 Symposium in Berlin
Workshop 27-28/06/2010 12:00-20:00h Fredrik Olofsson- Particular Sound- Prepare for the SC 2010 Symposium in Berlin, "Berlin SuperCollider Symposium Fundraiser Workshop" An in-depth look at granular sound synthesis using the free and open- source programming environment supercollider. a hands-on workshop investigating pointillistic sound, remake of early electroacoustic pieces, generating clouds/textures of sound particles, sound grains in multi-channel systems, time-stretch granulators, concatenative sound synthesis, and also how to add interactive control over these processes. Intermediate level SuperCollider users http://www.fredrikolofsson.com Schedule for Workshop: June 2010 27: 12:00 – 20:00 (with lunch break) 28: 12:00 – 20:00 (with lunch break) Workshop Location: @ NK Elsenstr. 52 2HH 2Etage 12059 Berlin Participation is limited to 12 participants. Registration: Pre-registration is required and can be done by sending an email to i...@nkprojekt.de Fee: 40€ NK Elsenstr. 52/ 2.Hinterhaus Etage 2 12059 Berlin Neukölln 0049(0)17620626386 -- NK PROJEKT http://www.nkprojekt.de/ Elsenstr. 52/ 2.Hinterhaus Etage 2 12059 Berlin Neukölln 0049(0)17620626385 JULIAN PERCY http://www.myspace.com/ratbag_ http://virb.com/lastdominionlost http://www.myspace.com/todesgeistprojekt GRATIS für alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Piemonte Share - Share Prize 2010 deadline postponed
The deadline to subscribe to Share Prize 2010 has been postponed to the 13th of June 2010. Continue to subscribe! The Share Prize, that aims to discover, promote and sustain digital arts, is open to all the italian and foreign artists. The contest is dedicated to artists that use digital technology as a language of creative expression, in all shapes and formats and in combination with analogical technologies and/or any other material. The jury is: Jurij Krpan (artistic director Kapelica Gallery, Ljubjana) - president Andy Cameron (interactive creative director, Wieden+Kennedy, London) Bruce Sterling (writer and journalist, Austin) Fulvio Gianaria (president Fondazione Arte CRT, Torino) A short list of six finalists will be announced within July 2010. The award candidates are invited to participate in the VI edition of Share Festival in Turin that will be from 2th-7th of November 2010, in Regional Museum of Natural Science. DOWNLOAD COMPETITION ANNOUNCEMENT http://www.toshare.it/shareprize/shareprize2010_eng.pdf SUBSCRIBE ONLINE http://www.toshare.it/shareprize/submit.php?lang=en __ Share Festival for art and digital culture 2/7 November 2010 Museo Regionale di Scienze Naturali Torino - IT www.toshare.it __ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] my lethal weapon
> my lethal weapon > > http://jwm-art.net/art/P1090153.MOV > > Fully strapped, always packed. Go to the library and get some more ammo. > You know what I'm sayin'? This is what you're sayin'. Seems pretty lethal to me... argn=type, argv=video/quicktime argn=src, argv=http://jwm-art.net/art/P1090153.MOV argn=name, argv=plugin argn=height, argv=100% argn=width, argv=100% [0001] main private debug: checking builtin modules [0001] main private debug: checking plugin modules [0001] main private debug: loading plugins cache file /home/james/.vlc/cache/plugins-04041e.dat [0001] main private debug: recursively browsing `/usr/lib/vlc' [0001] main private debug: module bank initialized, found 215 modules [0001] main private debug: opening config file /home/james/.vlc/vlcrc [0001] main private debug: CPU has capabilities 486 586 MMX MMXEXT SSE SSE2 FPU [0001] main private debug: looking for memcpy module: 1 candidate [0001] main private debug: using memcpy module "memcpy" [0273] main playlist debug: waiting for thread completion [0273] main playlist debug: thread 2918558608 (playlist) created at priority 0 (playlist/playlist.c:184) [0274] main private debug: waiting for thread completion [0274] main private debug: thread 2910165904 (preparser) created at priority 0 (playlist/playlist.c:210) [0275] main interface debug: looking for interface module: 1 candidate [0275] main interface debug: using interface module "hotkeys" [0275] main interface debug: thread 2901748624 (interface) created at priority 0 (interface/interface.c:231) [0277] main interface debug: looking for interface module: 1 candidate [0277] main interface debug: using interface module "screensaver" [0277] main interface debug: thread 2893355920 (interface) created at priority 0 (interface/interface.c:231) [0273] main playlist debug: adding playlist item `http://jwm-art.net/art/P1090153.MOV' ( http://jwm-art.net/art/P1090153.MOV ) [0273] main playlist debug: creating new input thread [0279] main input debug: waiting for thread completion [0279] main input debug: thread 2967714704 (input) created at priority 0 (input/input.c:265) [0279] main input debug: `http://jwm-art.net/art/P1090153.MOV' gives access `http' demux `' path `jwm-art.net/art/P1090153.MOV' [0279] main input debug: creating demux: access='http' demux='' path='jwm-art.net/art/P1090153.MOV' [0280] main demuxer debug: looking for access_demux module: 0 candidates [0280] main demuxer warning: no access_demux module matched "http" [0279] main input debug: creating access 'http' path='jwm-art.net/art/P1090153.MOV' [0281] main access debug: looking for access2 module: 7 candidates [0281] access_http access debug: http: server='jwm-art.net' port=80 file='/art/P1090153.MOV [0281] main access debug: net: connecting to jwm-art.net port 80 [0281] main access debug: connection in progress [0281] access_http access debug: protocol 'HTTP' answer code 206 [0281] access_http access debug: Server: Apache [0281] access_http access debug: stream size=117005246 [0281] access_http access debug: Content-Type: video/quicktime [0281] main access debug: using access2 module "access_http" [0283] main private debug: pre-buffering... [0283] main private debug: received first data for our buffer [0283] main private debug: pre-buffering done 15620 bytes in 0s - 152 kbytes/s [0279] main input debug: creating demux: access='http' demux='' path='jwm-art.net/art/P1090153.MOV' [0280] main demuxer debug: looking for access_demux module: 0 candidates [0280] main demuxer warning: no access_demux module matched "http" [0279] main input debug: creating access 'http' path='jwm-art.net/art/P1090153.MOV' [0281] main access debug: looking for access2 module: 7 candidates [0281] access_http access debug: http: server='jwm-art.net' port=80 file='/art/P1090153.MOV [0281] main access debug: net: connecting to jwm-art.net port 80 [0281] main access debug: connection in progress [0281] access_http access debug: protocol 'HTTP' answer code 206 [0281] access_http access debug: Server: Apache [0281] access_http access debug: stream size=117005246 [0281] access_http access debug: Content-Type: video/quicktime [0281] main access debug: using access2 module "access_http" [0283] main private debug: pre-buffering... [0283] main private debug: received first data for our buffer [0283] main private debug: pre-buffering done 15620 bytes in 0s - 152 kbytes/s [0279] main input debug: creating demux: access='http' demux='' path='jwm-art.net/art/P1090153.MOV' [0284] main demuxer debug: looking for demux2 module: 44 candidates [0283] mp4 private debug: found Box: mdat size 116993024 [0283] mp4 private debug: skip box: "mdat" [0281] access_http access debug: trying to seek to 116993024 [0281]
