Abraham Edelman PC

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Thanks for cleaning up your wikipage! Robert_Ransick 22:45, 16 April 2013 (UTC)

Documentation

Blinking LED

// Example 01 : Blinking LED

  1. define LED 13 // LED connected to
               // digital pin 13

void setup() {

 pinMode(LED, OUTPUT); // sets the digital
                       // pin as output

} void loop() {

 digitalWrite(LED, HIGH);  // turns the LED on
 delay(1000);              // waits for a second
 digitalWrite(LED, LOW);   // turns the LED off
 delay(1000);              // waits for a second

}

http://i.picasion.com/pic66/8884572e9fafad0a24a92c2ba9f81394.gif

Pushbutton

// Example 02: Turn on LED while the button is pressed

  1. define LED 13 // the pin for the LED
  2. define BUTTON 7 // the input pin where the
               // pushbutton is connected

int val = 0; // val will be used to store the state

               // of the input pin

void setup() {

 pinMode(LED, OUTPUT);   // tell Arduino LED is an output
 pinMode(BUTTON, INPUT); // and BUTTON is an input

} void loop(){

 val = digitalRead(BUTTON); // read input value and store it
 // check whether the input is HIGH (button pressed)
 if (val == HIGH) {
   digitalWrite(LED, HIGH); // turn LED ON
 } else {
   digitalWrite(LED, LOW);
 }

}

Serial Data Graphing In Processing

import processing.serial.*; Serial myPort; float xPos = 0;

void setup () {

 size(800, 600);  //set window size
 
 println(Serial.list());  //list all available serial ports
 
 String portName = Serial.list()[4];
 myPort = new Serial(this, portName, 9600);

 background(#622E85);

}

void draw () { }

void serialEvent (Serial myPort) {

 int inByte = myPort.read(); //get byte
 println(inByte); //printbyte
 
 float yPos = height - inByte;
 stroke(#A8D9A7);
 line(xPos, height, xPos, height - inByte);
 
 if (xPos >= width) {
   xPos = 0;
   background(#081640);
 } 
 else {
   xPos++;
 }

}

Notes

The Art of Interactive Design: A Euphonious and Illuminating Guide to Building Successful Software - Chris Crawford

  • listening, thinking, speaking/input, process, output - conversation, interaction, or intelligence (the ability to experience, think/synthesize, and convey information)
  • these processes can occur simultaneously as well as sequentially. ie. we can convey information (such as with body language) and think while we listen.
  • why is something interactive for children but not for adults? because adults have come to expect something to stay the same. ie. peak-a-boo. a small child is entertained by the face reappearing when the hands are removed, the adult assumes the face still there even when the hands cover it. doubt allows for possibility/interaction.
  • one weak link can put a lot of good links in the scrap pile
  • while the ideal of the movie doesn't change, media does. media is unstable. what if you yell at the protagonist and the tape jams? ever had a record or cd skip on a phrase that seems significant to what you were just thinking about?
  • the content may be conversation but the medium shapes the conversation
  • jet planes make distance less significant. computers make data/computation less significant.
  • "I hear and I forget; I see and I remember; I do and I understand."
  • "I certainly wouldn't buy from a winery whose advertisements emphasize its lovely wine bottles."


The Design of Everyday Things: Chapter 1: The Psychopathology of Everyday Things - Donald A. Norman

Norman's chapter The Psychopathology of Everyday Things (POET) contained the following paradox which I found both exciting and frustrating.

"It usually takes five or six attempts to get a product right. This may be acceptable in an established product, but consider what it means in a new one. Suppose a company wants to make a product that will perhaps make a real difference. The problem is that if the product is truly revolutionary, it is unlikely that anyone will quite know how to design it right the first time; it will take several tries. But if a product is introduced into the marketplace and fails, well that is it. Perhaps it could be introduced a second time, or maybe even a third time, but after that it is dead: everyone believes it to be a failure. I asked him to explain. "You mean," I said, "that it takes five or six tries to get an idea right?" "Yes," he said, "at least that." "But," I replied, "you also said that if a newly introduced product doesn't catch on in the first two or three times, then it is dead?" "Yup," he said. "Then new products are almost guaranteed to fail, no matter how good the idea." "Now you understand," said the designer. "Consider the use of voice messages on complex devices such as cameras, soft-drink ma- chines, and copiers. A failure. No longer even tried. Too bad. It really is a good idea, for it can be very useful when the hands or eyes are busy elsewhere. But those first few attempts were very badly done and the public scoffed—properly. Now, nobody dares try it again, even in those places where it is needed.""

This idea of a potentially interesting and useful road left before being followed to its conclusion appears to occur in many fields due seemingly to fear. The costs of mass-production (or mass-dissemination in the case of ideas) create fear in makers and thinkers who are encouraged to achieve success in an extremely limited amount of time. The aphorism "time is money" seems closely connected to this basic fear plaguing those who might otherwise be more likely to create innovative and intuitive designs. Since money is closely tied to survival, makers are placed in a situation where they feel they must fight clocks and other systems of measurement in order to survive. This potentially increases the likelihood of a unintuitive or unimaginative design being rushed into the market.

The User Illusion: Cutting Consciousness Down to Size - The Bandwidth of Consciousness - Tor Norretranders

Norretranders seems to me to consider consciousnesses to be synonymous with verbal thought. This is not to say that he disregards the other senses or other aspects of visual perception but that he seems to relegate these perceptions to the murky depths of the unconscious mind. I see this as a practicality intended to allow for consciousness to be more easily tested and thus measured. However, accepting the categories of conscious and unconscious, I would consider some of non-verbal perception conscious and and a valuable resource to those willing to develop the ability. These senses increase the bandwidth of a person's perception greatly and many highly effective memory techniques utilize these senses (i.e.. architectural mnemonics)

Experience Design - Nathan Shedroff

"Entertainment experiences, like stories or other narratives, tend to be one-way only because the story is told from a particular and deliberate point of view." - Nathan Shedroff

"In replacing narrative, you need an idea. What you do is take an idea that you have about a situation that seems as normal as everyday life so the audience doesn't see the idea. So it doesn't show. Of course the idea itself has to be good. It really has to be first-rate." - John Cassavetes

"In a riddle whose answer is chess, what is the only prohibited word?" - Jorge Luis Borges

“Intelligence is the capacity to receive, decode and transmit information efficiently." - Robert Anton Wilson

This article brought to mind the paradigm of text-based adventure games where the maker balances giving the user some helpful clues for navigating a space (created mostly in the user's imagination) and withholding others. While a web site might utilize a clear navigation bar to allow the user to remember where they have come from and to where they may go, a text adventure often plays with leaving the user in the dark (in many cases, the user will end up making their own personal and unique map in a notebook or some other medium outside the confines of the game).

Grouping media might allow the user to absorb information more quickly from the media. With modern users often jumping quickly from one source to another, juxtaposition might provide a way of playing to the strengths of this type of engagement. The interactive qualities (specifically the users ability to curate/program content) of media online also allow the user to choose how much time they are to spend with any aspect of a selection of media. In an attempt to explain a concept, one could give a selection of readings, videos, sound files, and pictures all representative of aspects of the concept, and let the user make connections and choose how much time is spent with each selection. Emphasis shifts from attempting a deep understanding of one instance and the many concepts to be found in it to finding many instances of a single concept (i.e. themed tumblrs, internet radio stations based on user selections/recommendation algorithms).


Final Project Description

Abe, where are your sketches, details and schedule of work?Robert_Ransick 18:04, 23 April 2013 (UTC)

My initial concept for the final project was to create a system where a keyboard would play a single tone into a room and the parameters of the note (filtering, modulation, wave shape) would be changed (through midi control messages) by actions occurring in the room. Later I decided that field recordings taken from different locations on campus might engender a more interesting experience by stimulating participants familiarity with these locations and creating a juxtaposition of multiple spaces and times within the installation site. Motion in the room would then alter the qualities (volume, modulation, filtering, speed, pitch) of the recordings.

In my meeting with Robert, we discussed the opportunity for connecting the four walls of the room with the site from which the recordings were made. He also suggested that the sounds might be triggered by lifting a significant object from a pressure sensor.

At its current state, I have settled on a microphone feed from outside of the Pars-Borden second floor common room run through a short (app. 5 sec.) delay line to create a cross-sensory phasing effect. In order to keep the sound production out of the visual field of the observer, I have decided on placing one speaker in the bathroom and one in my own room, both of which are adjoined to the common room.

Week 1

Made field recordings and electronic sound recordings for the project.

Field recording made in VAPA

Electronic sound piece for possible output of a multi-speaker setup or modulation of field recordings/mic input via FM synthesis

Week 2

Refined project concept. The sound source will now be a microphone feed run through a delay line rather than a collection of field recordings. I selected the second floor room of Paris-Borden for its large windows and distance from the ground which allow for long sight-lines in a near panoramic field. The bathroom and dorm room in which I live are both adjacent to the room and will allow speakers to be set up out of sight.


Prospective installation site in Paris-Borden

Pb1.jpg

Pb2.jpg

Sending Streaming Audio Over Campus Wifi

In order to send streaming audio I used a program stack, a solution I found in the following tutorial.

Before installing the program stack I had to first install Xcode which was available through the apple app store and then homebrew.

The program stack includes the following elements:

http://cycling74.com/soundflower-landing-page/

Soundflowerbed is an inter-application audio routing program. Soundflower creates additional audio devices that bind to applications to send and receive audio. Soundflower also comes with a program called Soundflowerbed. It lets you listen to audio locally even while broadcasting, like a splitter. Here’s what the Soundflowerbed menu bar app looks like:

http://jackaudio.org/

JACK audio connection kit is a program that allows the user to route an audio signal from one program to another. In this case it routes audio from Soundflowerbed to Darkice.

https://code.google.com/p/darkice/

Darkice is a live audio streamer. It takes sound as its input and sends it to a server.

http://www.icecast.org/

Icecast is the web-serving layer of the stack. It takes incoming client connections and sends them the audio from Darkice.

I installed Darkice and Icecast in terminal with the instructions provided in the tutorial.

[[1]]

After downloading the m3u mount from the Icecast2 admin page I was able to stream audio to computers connected to the server http://myhostipaddress:8000/spin

Schedule

Week 3: Obtain materials. Demo microphone in class without delay.
Week 4. Devise a solution for delay line through software or Arduino.
Week 5. Test installation on site. Ask for others to provide feedback based on their perception of the test setup.
Week 6. Refine project based on results of test installation and observer feedback.
Week 7. Further refining as necessary.


Inspiration

"I therefore claim to show, not how men think in myths, but how myths operate in men's minds without their being aware of the fact." -Claude Levi-Strauss

I interpret myths to be something (an archetypical character, set of relationships, series of events) that exist outside of time, in the sense that they reoccur perhaps unbeknownst to subjects who often see the ground of the present rather than the background of myth.

Original recording of Alvin Lucier's I Am Sitting In A Room (1969)

"I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have."

In this piece, Alvin Lucier recorded himself reading the text above. The recording is then played back into a room where a microphone records the sound and then replays it. As this process is repeated the resonant frequencies (frequencies at which the room vibrates the most) of the room are emphasized more and more until the resonant frequencies of the room replace the sound of Lucier's voice entirely.

Maryanne Amacher speaking at Ars Electronica (1989)

Maryanne Amacher discusses her experience observing the output of a microphone placed at Boston Harbor and connected to her studio via telephone line.

Maryanne Amacher's artist statement for Music for Sound Joined Rooms (1980)

Symphonies of the Planets: NASA Voyager Recordings (1990)

Glenn Gould's "contrapuntal" radio documentary, The Idea of The North, from the Solitude Trilogy (1967)

Gould's idea of applying the musical technique of counterpoint to a collection of interviews is similar to the use of a fixed microphone output (live) juxtaposed against a moving microphone (recorded) (similar to the musical technique of a pedal tone) recording in my piece.

Philip K. Dick's Exegesis originally published in the novel V.A.L.I.S. (1981)

P.K.D.'s Cosmonogy and Cosmology (1978)

These two writings by Philip K. Dick include descriptions of a (possibly) mystical experience during which he experienced a sensory juxtaposition of Ancient Rome and present day California.

"Thoughts of the brain are experienced by us as arrangements and rearrangements -- change -- in a physical universe; but in fact it is really information and information-processing which we substantialize. We do not merely see its thoughts as objects, but rather as the movement, or, more precisely, the placement of objects: how they become linked to one another. But we cannot read the patterns of arrangement; we cannot extract the information in it -- i.e. it as information, which is what it is. The linking and relinking of objects by the Brain is actually a language, but not a language like ours (since it is addressing itself and not someone or something outside itself)."

Bill And Tony (1972)

A short experimental film by William S. Burroughs in which images of faces are projected on to subject's faces.

Research

Artist Feature

Stuart A. Sherman (1945-2001) was a performance artist, playwright, filmmaker, videographer, poet, essayist, sculptor and collagist who worked primarily in New York City. Early in his career, Sherman was involved in experimental theater groups including the Ridiculous Theater Company and Ontological-Hysteric Theater. Later he worked primarily in a solo performance format which usually consisted of dramas involving inanimate objects enacted on a table top. Sherman also created large-scale dramatic works, films, and a series of reviews published on Amazon.com.


Stuart Sherman (1946-2001)

Audio tour of "Beginningless Thought/Endless Seeing: The Works of Stuart Sherman" with Yolanda Hawkins

Stuart Sherman on Kestutis Nakas' "Your Program of Programs" (1983) Pt. 1

Stuart Sherman on Kestutis Nakas' "Your Program of Programs" (1983) Pt. 2

Interactive Art

Vito Acconci - Association Area (1971)

Excerpt from Alvin Lucier's Music For Solo Performer (1965)

Links

Excerpt from Ted Nelson's Computer Lib/Dream Machines (1974)

Excerpt from American Magus: Harry Smith: A Modern Alchemist (1996)

ubuzip: An online archive of downloadable work curated by Abraham Edelman and Jeffrey Scudder (2012-Present)