the neoscenes/tech-no-mad (b)log ::
traces pathways and actions encountered and undertaken
Another big thanks to the https://apo33.org crew! This year was a bit tougher than last for me, as I have to stream from 0200-0300 after which I couldn’t sleep so well. And ended up with a migraine most of the following day. Another weekend, another day of life gone, not to be recovered or caught up with or regained through magic means. Gone. As is an hour of your life should you take on the challenge of listening to one of my dense mixes…
(01:04:40, stereo audio, 150.2 mb)
Electrical transmission running through our neural networks produce all kinds of stimulations and impulses within us every day. The Internet network can be taken as a comparison of the nervous system that conveys information between neurons, are not exactly the same type of information circulating the same way or to pass this information – Electrical vs. Digital : is put in relation to its copy.
Since its origins, cybernetics seeks to re-create its own reality, whether or not this is wanted, by taking it into account the question arises : how can we transform this approach?
The Shout as a proposal for a sound practice combines its own dematerialization and reinstatement of disruptive wave vibrations in a powerful sound system – Taken as a starting point we propose “The Shout” as a constitutive element of musicality and poetry, all nuances that may transcend technological reality !! Is it possible? Let us know !!
A one-hour live improv stream of material drawn from a sizable analog/digital archive: the multi-tracked material will be selected based on a criteria of neural resonance — during a lead-up to the performance, and during the improv performance itself. There will be various electric field disturbances, recorded in a variety of ways, along with the neural traces of memory, re-constituted from ancient electromagnetic 4-track and cassette tapes.
The controlled behavior of a magnetic dipole is the primary model for all material used to store information via electromagnetics — both tape and hard-drive — to relinquish control of the dipole moment is to spin into chaos and noise.
The Festival starts on Friday night 26 February and runs through Sunday 28 February.
neoscenes was again invited to jump into the festival for a one-hour live improv stream.
Stay tuned here for up-to-date information on catching the live improv stream. Mark the time — (you can go to World Time Buddy to calculate other time zones).
Sunday, 28 February 2016 – Phoenix – 02:00 – 03:00 AM GMT-7 (MST)
Sunday, 28 February 2016 – New York – 4:00 – 05:00 AM GMT-5 (EST)
Sunday, 28 February 2016 – London – 09:00-10:00 AM (GMT)
Sunday, 28 February 2016 – Nantes – 1000 – 1100 GMT+1 (CET)
Sunday, 28 February 2016 – Helsinki – 1100 – 1200 GMT+2 (EEST)
Sunday, 28 February 2016 – Sydney – 8:00 – 9:00 PM GMT+10 (AEDT)
Sunday, 28 February 2016 – Auckland – 10:00 – 11:00 PM GMT+12 (NZDT).
The Festival has their own output stream to tune in to. (or copy/paste https://apo33.org:8000/audioblast.ogg.m3u into VLC or other streaming player). Headphones recommended to capture the ethereal density of the stream!
If you can’t manage to stay awake, we will be archiving this stream for future listening.
Went live/online a bit before noon (GMT-7), with a few folks hanging out — I had suggested it as an event for the Milagro Art Center — with an accompanying talk on Fluxus, but for some reason it wasn’t compelling enough for them. The IRC channel was quiet except for a few pings from naisa — probably more evidence how ‘social media’ has sucked the oxygen from online conversations (speaking as a FB non-participant). Twitter hosted some activity.
The stream was an improv mix from more than 400 files on a ten-track mix* quasi-organized with random/blind files mixed in. Listen to the archive broadcast in its entirety:
(02:06:17, stereo audio, 303.1 mb)
* the improv mix refers to balance and volume on each of the ten tracks being selectively altered during the performance. All of the hundreds of files were unmanipulated field recordings from my personal archive.
big thanks to the https://apo33.org crew — they had three long days of work during the festival, and god knows how much time before that! although there were some newbie streamers, things worked out very well. technically, I was able to do a 160kps unbroken stream, 8-tracks, 100 samples or so. What the hey!!
(01:02:45, stereo audio, 150.2 mb)
Sound and music networked practice is increasingly significant, the public is very interested in this type of emerging practice, and Apo33 continues to develop this unique festival in the world! There is no equivalent.
Audioblast is a festival from cutting edge using digital tools to cross the concert, performance and particular form of exposure where the public can sit, listen to concerts, roam and chat with the artists during their online “live” sets; with possibilities for live chats with the musicians. The public can both listen at the Plateforme Intermédia which also allows a wider public into this world.
Audioblast Festival is an annual edition in the program of the Association and will be presented as part of the cultural project for APO33 at La Fabrique.
neoscenes was invited to jump into the festival for a one-hour live improv stream between 1400-1500 (GMT+1) Sunday, 01 March in Nantes (6-7 AM Mountain Standard Time – Arizona / 8-9 AM Eastern Standard Time – NYC / (you can go to World Time Buddy to calculate other time zones).
I would quibble with the ‘cutting-edge’ designation — I’ve been involved in streaming sonic (and visual) performance for almost 20 years now. It’s more ‘fringe’ than cutting edge. And the is likely more an issue of a distinct lack of solid historical references for most artists who are now discovering these mediums of expression. Even when I’ve been teaching about such stuff, for example, at CU-Bolder in 2012-13, the students were repelled by the thought of approaching a cutting edge, they literally couldn’t handle it: too indeterminate.
For the last five years, sonic art has seen (heard) huge growth among young artists as the tools are ubiquitous and pocketable in the form of smart phones. I can now stream over wifi using my iPad. Of course, it was possible 10-15 years ago as well, but it was a lot more unstable and often complicated. Today, at AudioBlast there were no technical glitches during my set. Good!
Audio in the network: a digital sound festival using the network as a venue for diffusing experimental, drone, noise, field recordings, sound poetry, electronic, and contemporary music. The festival will be streamed live online (you’ll need VLC or another ogg player — iTunes doesn’t work for this, argh, they switched to (open source) ogg at the last moment) and in quadraphonic sound at the venue La PLATEFORME INTERMÉDIA – LA FABRIQUE (4, Boulevard Léon Bureau – 44000 Nantes – France).
The theme this year is “Sonic Frontiers” / “les frontières sonores” :: the full schedule and the list of artists and another place to listen from (https://apo33.org:8000/audioblast.ogg)
Audio has been instrumental in pioneering many digital and communications technologies and is a versatile and creative medium for gaining deeper understanding of digital coding languages both visual and text based. Sound can travel and encourage a more horizontal and collaborative society, which also has the potential to germinate innovative practices across mediums and genres. During 2015 through the framework of “Sonic Frontiers”, APO33 will question and debate the ideas around audio migration, how sounds travel, influence and structure cutting edge music practices and sonic arts.
[documentation of the performance]
[ed: this is extracted from my dissertation, so some things are unexplained. However, I didn’t want to make large modifications, it’s more a teaser on a novel definition of ‘virtuality’ and the ‘virtual’. To illustrate the principle, and to suggest the relationship humans have with it, I use one particular manifestation of energized (matter): glass]
All organisms, humans included, evolve ways of modulating and attenuating the changing flows that are potentially harmful to them. Humans are exceptionally well-adapted to utilize and re-configure available flows to secure incrementally increased viability. In one instance they discovered that they could manipulate the most common forms of energized matter at the surface of the earth — silicon and oxygen, with bits of carbon, sodium, and calcium — to create a substance that was, at human scales, relatively impervious and that could constrict extant or generated flows in a variety of ways. more “Window Weather”
faugh. Where does this lead? Emotional manipulation by secretive corporo-mili-fiscalo-governmental(?) entities who are not responsive to any measures of civil society. Privacy is gone, now emotional authenticity is being eroded. I never quite understood how a majority of my students at CU got so defensive about their Facebook and other social media usage. Does this mean that the manipulation is so completely invisible that it qualifies for that water-to-a-fish state?
Emotional states can be transferred to others via emotional contagion, leading people to experience the same emotions without their awareness. Emotional contagion is well established in laboratory experiments, with people transferring positive and negative emotions to others. Data from a large real-world social network, collected over a 20-y period suggests that longer-lasting moods (e.g., depression, happiness) can be transferred through networks [Fowler JH, Christakis NA (2008) BMJ 337:a2338], although the results are controversial. In an experiment with people who use Facebook, we test whether emotional contagion occurs outside of in-person interaction between individuals by reducing the amount of emotional content in the News Feed. When positive expressions were reduced, people produced fewer positive posts and more negative posts; when negative expressions were reduced, the opposite pattern occurred. These results indicate that emotions expressed by others on Facebook influence our own emotions, constituting experimental evidence for massive-scale contagion via social networks. This work also suggests that, in contrast to prevailing assumptions, in-person interaction and nonverbal cues are not strictly necessary for emotional contagion, and that the observation of others’ positive experiences constitutes a positive experience for people.
Who is paying the researcher’s wages? Why are they researching this *for Facebook*?? argh… No paranoia here, it’s more just how things work in a corrupt and morally (& fiscally!!) bankrupt regime.
Wake up to another snow-fall. It’s Tuesday, I’ve got class, and have to take the bus in rather than cycling. It’s too slick for experimental commuter riding today.
1 The Hybrid: This and/or That
2 Abstract: This text is a meditation on the concept of hybridity and hybridization as a construct of our techno-social system that attempts to safely frame (chaotic change) at the same time as to be a creative source.
3 Keywords: bifurcation, schizophrenia, catalysis, difference, gradient, edge, reaction, culture, change, innovation, control, systems
4 Introduction:
4.1 What happens when two things come together? What happens when two energies come together? In certain situations there can be a catalytic response which allows the two disparate systems or impulses to encounter and change each other with gusto. In other situations the two systems retain their essential character and apparently do not mix, merely coming into separate relation or juxtaposition with one another. Why do humans bring things together? Why is life combinatorial and synergistic? Recognizing the expanse of territory posed by these questions, as well as the main thematic question proposed at the Hybrid Space workshop “How does art create, visualize and network hybrid spaces,” this essay will not attempt to provide answers, but rather will plot a simple course through some ideas and reflections on what may be the foundations that the questions rest upon.
more “The Hybrid: This and/or That”
I would like to share here the experimental net radio > metaminaFNR
https://metaminafnr.hotglue.me/
metaminaFNR is a continuous audio stream. A Pure Data patch running on a server randomly chooses audio tracks from a text file. The sound files are hosted on archive.org and other sites. It features sound art, noise, generative and algorithmic music, improv, field recordings, microsound and more … all of them with an emphasis on experimentation and published under open licenses.
Sometimes there is a special one month programs and also live emissions. The new web is under construction.
enjoy it!
oscar martin
— oscar martin && [noish]
:::::::::::::::::::::::::::::::::::::::::::::
https://noconventions.mobi/noish
https://www.minipimer.tv/
https://ursonatefanzine.tk/
Had a discussion w/ ELE re: the DPC. He gave me the background accumulated by WIW at Andrews last week. Gen. Terhune of ESD nixed his mission in his review of the need for a DPC at Norton, resulting in his people not getting to AFSC / Gen. Estes w/ their story. HQ AFSC sent their own investigators to Green River & Holloman with the report that BSD is undermanned & the experimental objectives are not sufficiently spelled out. So it will be a few weeks b4 all this is ironed out.
Gave Paul Gaudette the interval of 1/2 hour to obtain operation of emergency air conditioning.
In view of the above 2-week delay, ELE thot it well for me to ascertain the photo process, so I’ll start the paperwork for the Kwaj trip.
Vic Guethlin informed me that Jim Knight would be in Pasadena on Monday. I’ll plan to see him there next week.
Was given two of the shots for the Kwaj trip.
Much warmer today.
Went home before noon to get my medical records to see what I need b4 going to Kwajalein. The nurse — Mrs. Leonard, an Phylis Guisti — decided I must have the ff:
1) smallpox
2) typhoid – paratyphoid
3) tetanus
4) diptheria
5) polio
6) typhus
7) cholera
8) yellow fever
They gave me 1 & 2.
Picked up a Kodak Color Data-Guide and a 1963 diary filler for CR in Lexington on the way home.
Reviewed CR’s talk to his class today; he is to speak for 5 minutes and then answer questions.
Make a pilgrimage to Longmont to the Firehouse Arts Center to catch an evening screening of work by a CU Film Studies faculty-member Jeanne Liotta. I had met her the evening before at another university-sponsored cultural event. Alex had mentioned there was a reception/opening in the Rare Books Room of the Library, and, as a professional nomadic cultural participant (and observer), I thought I’d check it out. Turns out it was the effort of a Humanities class that had curated a small show of works from the collection of artist’s books that Lucy Lippard had given to the University. Strangely enough two of the pieces in the exhibition are from old friend/networker node, Paul Rutkovsky (aka. floridada). I talked to some of the student curators about Paul, Lucy, and about networking. I was lucky to have been doing my MFA at CU-Boulder when Lucy was in residence and received some of her teachings. Age brings the role of information carrier, holder of historical perspective and knowing, story-teller. No corner on wisdom, but at least some stories are related. I query the kids about what their thinking is about the use of photocopy machines as art tools. This is a very novel idea for them (given they only know the digital type of photocopy machines at most, not the old analog devices). Paper output is novel in itself. I don’t have much documentation online of some of the prior (ancien-régime!) photocopy-based projects I’ve run: just The Xerox Book that included mp3 files of the accompanying collaborative audio cassette mix, unfortunately there are no scans of the 300 actual pages … some day I’ll get to that corner of the archive & revive it in the digital zone.
At any rate, Jeanne’s work dances around cosmology, astronomy, and very much the syntax of the various filmic media she plays with — from Second Life pieces to found footage, analog and digital to Ray-o-gram-printed 35mm film stock. The sonic accompaniments well synergize with the visuals. I missed not seeing some of the analog film pieces in their original form (vs digital reproductions), as most of the pieces are (at least in part) deeply about what mediation they are conveyed upon. (Not that that aspect is meant to completely frame them materialistically: it’s only one order of correlation.) There are plenty of other resonant aspects and sources: the eclipse, the sky, the procession of stellar energies, the transposition of Light from various enigmatic sources onto halating film substrates: she always maintains an alchemical and, consequently, an experimental edge through her attention to immediate and spontaneous situation. This sensitivity is combined with an aware curiosity of phenomenon: yielding Light works that are simultaneously playful and yet connected to/suffused with an insistent and sometimes overwhelming gravity. Escaping the gravitational field of be-ing requires an empathy for the intense sadness that pervades our current times: this potential is achieved on occasion and reminded me of the intent of Bruce Elder’s magnum opus “The Book of All the Dead” and the constant struggle against the gravity of it all, in search of Light. It goes ever back to Simone Weil’s “Two forces rule the universe: light and gravity.”
Drop into another on-campus cultural event, this time over into the College of Music sphere of influence to sample the pendulum new music — Cole Ingraham of glitch lich runs a collaborative networked music performance on a self-authored Super-Collider collab platform (working with folks from the Bournemouth program that Armin helped set up). The rest of the show is more traditionally experimental, mining accepted paradigms.
1: Track 01
(02:28, stereo audio, 5.9 mb)
2: Track 02
(04:14, stereo audio, 10.2 mb)
3: Track 03
(09:59, stereo audio, 24 mb)
A long ago and far away project at the cutting edge of collaborative international streaming between Boulder, CO, and Riga, Latvia, and points in between.
A real-time video-installation followed by series of live audiovisual data exchange performances in search of access to the repository of higher knowledge.
Video/sound artists and broadcasters (streaming media/icecast) are invited to salvage the Light from obscurity and participate in search process by joining telejamming sessions during the exhibition.
To participate and find out more, please contact voldemars@pxxxks.lv for any questions.
The installation concept is built around an ancient myth found in Latvian pagan culture, but its symbolic meaning can be found in many other cultures—be it the Golden Age, The Lost World, the Garden of Eden in ancient times and Christian belief, or The Lost Tree of Knowledge in Eastern Cultures.
In the Latvian mythology there is a widely known story about the Palace of Light — a repository of higher knowledge and wisdom, freedom and power of spirit and mind, which was drowned by darkness in depths of the Lake Burtnieki a long time ago.
By transforming the pagan mythology and industrial societies notion of the Palace of Light into the images of information society we arrive at the symbol which finds similarities with twenty-first century cultural icons like cyberspace, hyperspace, unlimited information space, dimension of thought, ideas, and information reality.
In the Latvian folklore we can find precise information about the way the drowned palace can be accessed: its name (or call it password) needs to be guessed, identified and separated from the rest of the information. Basically if we don’t question the convictions of Hellenistic thinkers about reality as the imperfect projection of the Idea, where new phenomenon and conceptions appear only when they are thought of (identified), it is necessary to find/capture this idea of the Palace of Light, which will serve as a universal key to the gate of the world of idea.
Today the information technologies have developed to such a level that it should be possible to find the ‘word’ (access code) of the Palace of Light. Even more, the search can be conducted in three basic levels of information: visual, sound, and text. In this case the access code search software will work like information processing virtuoso hackers, finding the right code from the hundreds of possible combinations.
About Telejam
A real-time audiovisual data performance (concert), simultaneously in real and virtual space. Many audio/visual streams are created and transmitted simultaneously by the artists in different geographical locations, and presented live via mix aesthetics. Since the summer of 2001 AmbienTV.net (London) and RIGASOUND (Riga) has conducted a series of real and virtual space situations within the Telejam lab. Telejam is real-time data sculpture in the information space.
Technically: in the exchange of data the internet and streaming media software (Realmedia, Icecast) are used as well as huge arsenal of digital, virtual, and analogue sound and video signal equipment, video/ audio mixers, effect processors, image processing software, etc.
The format of the situation and its experimental aesthetics allow artists to use and experiment with the net effects and techniques such as delay, loop, feedback, lo-rez, and signal distortion to create reflexive and summarizing audio-visual loop infinities.
links:
https://www.ambienttv.net/telejam/
https://rigasound.org
https://www.castleoflight.lv
[November 2002]
Damn Voldemars — I just sent this to the lev list, sorry — I hate when that happens! ;-)
I would love to join you folks with a video/audio live jam streamed from here in Colorado — what do I need to know? I have a phat Real Server to use for my stream, so I need no technical support. I can do a stream live mixed from VDMX VJ software with a separate audio stream…
Cheers,
John
An early morning ’cause I have to make a video. A performance. skipper. well, sort of early. Disheveled bedroom hair, timing and all that. I use the MUU digital video camera for free because I spend two long afternoons working on things around the laboratory there. The web server is down, and is not to be recovered so easily, ’cause nobody made the back-up’s they should have made … Sanna runs the camera while I perform skipper on Suomenlinna. Kiittos, dearie, you look scrumptious!