hyperdrive
for my icm midterm. a recreation of a jump into hyperspace, popularized by star wars, star trek, and just about any science fiction that describes faster-than-light travel. a thinly-veiled dedication to cern’s discovery of faster-than-light particles. and hopefully a figurative jump for me into more difficult and complex processing sketches.
study:
//
work in progress:
Serial Out
Working through the serial output lab was pretty simple, given the fact that I gave myself a crash-course in serial output for the Office Chair project. It was nice though getting to see how to get Arduino to talk to processing, even if the end result was less than spectacular. I’m excited to do more things that involve Arduino and Processing in the future. I’m probably more excited though to do work through MaxMSP/Jitter, which I’m teaching myself now. But for the moment, baby steps.
//
reverse flashlight
a flashlight that doesn’t emit light, but detects light emission.
a photoresistor is attached inside the lens of a flashlight, focusing down light (or lack thereof ) in a directional matter to photoresistor. depending on the amount of light coming in, the flashlight responds by vibrating and changing the pitch of a speaker, from high to low.
// video demo
//photo documentation
office chair
by Johann Diedrick, Sean McIntyre and Joseph McCagherty
Office Chair (2011) is an attempt to give new meaning to our everyday use of an object. Using sound controlled through gesture, an unexpected recontextualisation of an object occurs. By reimagining the way in which we interact with an object, in this case an office chair, it is given new life through playfulness. Our expectation of the typical environment for the office chair and how we use it is changed subtly, creating an unexpected emotional response in the user. Three familiar gestures associated with the office chair (sitting down, leaning back and adjusting the vertical position of the chair) are exploited through switches and sensors placed where our action meets the chair. As a person sits, leans back or poistions the chair up and down, a sound is played through speakers that are typically associated with the type of gesture, but would never be expected to come from our experience with an office chair.
// Video of demonstration
//Documentation
sensor venacular
“artifically personalized”
matt jones of berg london on the sensor venacular
robert hodgin on the kinect
Kevin Slavin:
untited
transmedia
//
j.c.r. licklider / the computer as a communication device
//
doug engelbart
//
ted nelson / computer lib/dream machines
sewing machine, operating table, umbrella
Plagiarism is necessary. It is implied in the idea of progress. It clasps the author’s sentence tight, uses his expressions, eliminates a false idea, replaces it with the right idea.
-Comte de Lautréamont
//\\//\\
Things to consider:
-An artist needs to reference past works in some attempt to perform a creative act and achieve originality
-An artist believes that his or her work is owned exclusively to them, and any attempt to reference another’s work is an infringement on their “intellectual property”
-Institutions that have capitalized on the creative acts of artists believe that they can, through legal means, own these creative acts, to the point where the creators of these acts no longer own their work
One of the things that I’m interested in is the tendency for artists to feel the need to reference past works. Where does this tendency come from? I don’t think the simple explanation that one does it because past works are used as inspiration is sufficient. I believe that, in some way, “referencibility” (the ability for a work to be argued as having an art historical reference) makes a new, radical work legible or readable. And who is it (legible) readable to? A particular, exclusive class of individuals who have an invested interest in validating their own practice. If a new creative act is seen as being a progression from past works, it legitimized the work that came before it. In this way, there is an invested interest, particularly with art critics, to only allow creative acts that fall in line with a certain lineage or history as being worthwhile and valuable.
Appropriation art isn’t new. Or at least, the methods utilized in appropriation art aren’t new. In these practices, minutia from daily existence are used as material for new creative acts. The difference (or problem) now is that the content now being used happens to exist in the realm of fine arts or copyrighted work.
Why should we support appropriation art? For one, it opens up new possibilities and chance juxtapositions that would have otherwise not have been made apparent. These moments of serendipity are where really originally and innovation come from. Modes of expression are predicated on the idea that found material, from whatever source, is fair game to be used for reinterpretation and reuse. This goes as far back as the photocollage from Berlin Dada in the early 20th century to hip-hop music around the turn of the century. To deny these processes as legitimate modes of expression would be a akin to censorship, which, in a sense, is precisely what is happening when artists are denied the ability to remix the world around them as a means of understanding and expression.
A quick aside, it would be worthwhile to explore the notion that many of the thing we take to be natural are in fact cultural creations whose history we have lost and whose origin we have forgotten. Seen in the current day and age when things are created rapidly and forgotten even faster, all things created seem to immediately sublimate into our natural environment. This suggests an argument that all creative acts, once made public, are fair game to be used for future creative acts in the same way a spontaneous event may be photographed and used for artistic means.
Rainbow Light
For my analogRead/analogWrite I decided to create an LED construct that cycled through the colors of the rainbow. A potentiometer controls the blink rate of the LED, which is also in turn controlling how fast the colors cycle through from red to violet to red again. I’d like to push this project a little further so that the blink rate is independent of the color cycling rate. At this point though, both are inside of the main loop, so it may be more difficult to achieve.
Don’t Talk to Me
Talk to Me, the current special exhibition at the Museum of Modern Art, is a survey of objects that listen, think and talk to visitors. Voluntarily or otherwise, inventive and innovative communication technologies confront, respond and interact with you — and each other. On display are toys, musical interfaces, ready mades, prosthetics, data visualizations, audio visual experiments and media that exist in the liminal space between the traditional and the new. They are here to meet, spend time with and get to know you. Some might even take you for a walk around the park.
Over the course of my visit, talking in the promises of our technofuturistic utopia, very few pieces spoke to me directly. The cluttered, almost claustrophobic presentation of the exhibition overwhelmed me almost immediately. For a practice that cherishes subtly and intimacy, many of the things on display spoke loud and fast. The amount of information being thrown at me was almost invasive. I had to leave momentarily to return to sensual equilibrium. I decided to go to the bathroom.
It was there that I found my favorite interactive piece in the entire show. It spoke to me on multiple levels, and in my respite from the central Talk to Me exhibit I found this piece to encompass many things that are central to good interaction. It succeeded, I felt, in ways that many pieces in the show failed to do.
It was the Dyson Air Blade.
The Dyson Air Blade is a hand sanitation device for the interactive generation. The device is a wall-mounted, stainless steel hand dryer that uses patented Dyson technology to dry your hands without any contact with the device. Simply slide your hands between two thin, horizontal air blowers, and enjoy an automated, thin plane of dry, warm, perfectly-pressureized air that removes excess water from your hands after they have been washed.
The device scores low on Chris Crawford’s continuum of interactive, providing one simple function for the user — the drying of hands. But it does this well, and in a repeatable fashion that never disappoints. The interaction between user and object fulfills Crawford’s requirement for an interactive process: there are two actors, and there is a procedure that follows his loose definition of listen, think, and talk (or, more generally, input, process, output). Replacing Crawford’s fridge in his example, found in Chapter 1 of The Art of Interactivity, we get:
The Dyson Air Dryer….
… listens (to my hands being placed between the blades)
…thinks (a sensor recognizes that my hands are in between the blades)
…talks (blows air)
The user interface design is simple and intuitive, providing user with only one possible (intelligible) gesture, the drying of hands. It is familiar to anyone who has used a public bathroom, yet given the novel reimaginating of hand sanitation, it still results in a “Aha!” moment for first time users. The placement of the Dyson Air Blade is optimized for ease of use for a variety of users of different heights. Maybe also most satisfying is the fact that the object itself is not self-consciously designed. It doesn’t attempt to draw attention to itself. And its sleek, metallic exterior suggests a robustness and boldness that emphasizes the efficiency of its task.
The Dyson Air Blade does what you want it to do — well. Expectations are set from the onset and fulfilled quickly and with great satisfaction. There is no frustration about use or anxiety because of overwhelming stimulation, obfuscation, or disorientation.
Ultimately, the Dyson Air Blade succeeds in its simple functinatility, novel reconceptualization of a familiar activity, and its ability to be interactive without being intimidating and confrontational. The object makes no attempt to engage with a party unwilling to be engaged. It sits and waits, performs its job, and remains ready for the next pair of hands to dry.
//
blink
1) Setting up power
Connect power of microcontroller to + column of breadboard. Connect ground of microcontroller to – column of breadboard. For Arduino, use 5V power connection.
2) Create digital switch
Connect a switch to digital input 2 on Arduino. The electricity flows like this:
+ -> resistor -> digital input 2 -> switch -> ground
3) Add digital outputs
references: http://en.wikipedia.org/wiki/LED_circuit
Video of blinking LEDs:
Nightwalkers
Saturday, June 18th @ The Mitten, 4918 Kingsessing Avenue // 7pm-ish
Shadow Lover
Ava Omega Jarden, formerly from Omega Jarden, is a Brooklyn based musician and sound engineer. Ava’s music conjures early-Madonna and mid-career David Bowie. She weaves glamour, pop, and vulnerable, minor-scale vocal melodies in a highly provocative, raw, and exhilarating performance.
http://www.soundcloud.com/shadow-lover
http://omegajarden.com/
Felix & The Future
Felix Flores, raised half-Mexican, half-American, developed fascination of the supernatural from the many storytellers in his family. His theatrical songs are voyages through cosmic landscapes, towers overlooking black oceans, and carnivals trapped in time.
http://thefelixflores.com
Yva Las Vegas
Venezuelan-born/Seattle-native, presently living in Brooklyn. Yva is particularity notable for her prevalence as a radical street performer, as well as her role as the bassist/co-vocalist in Nirvana’s Krist Novoselic’s project, Sweet 75, in the 90s. Her present musical palate combines traditional Venezuelan folk-songs, throbbing, with an almost painful passion and controversial, uncanny satire.
www.myspace.com/lasvegass
Widow
Angela Vitacolonna is a Brooklyn based musician/movement & performance artist. Angela’s music is an unclassifiable melange of minimalism and metal-folk. Her performance style is greatly informed by her interest in butoh, so it unfolds as a deeply internal confession. In moments, her pain translates into something archetypal and offers a bridge to the listener to join her elsewhere.
http://www.myspace.com/bloodyforme
A Stick and a Stone
Haunted folk of Philly songwriter and male soprano, elliott harvey. From banjos to bass drums to body parts, a Stick and a Stone uses subtle instrumentation alongside secretive lyrics and soaring vocals. Working fluidly with artists of many forms, a Stick and a Stone’s live shows range from personal solo appearances to full collaborative performances.
http://astickandastone.com/
resonating objects
the piezo disk is a notoriously shitty speaker, but by building a small output transformer we can boost the voltage going to the pizeo disk, resulting in sounds at a usable volume for other projects.
the top image shows first a diagram for an output transformer. the goal of the transformer is to boost the output voltage of a small amplifier from approx. 6 volts to approx. 200 volts. plugging in a pizeo disk construct into the female jack at the other end, we get a makeshift speaker that will amplify a sound source played through an amplifier or directly plugged into the tip at the other end.
one thing we can use this “piezo driver” for is to make a quaint reverb unit. by clipping the pizeo driver to some kind of medium (paper, wood, or thin plastic), we can pick up the sonic vibrations at another part of the medium by clipping a contact mic to it. we can then amplify what is being picked up by the contact mic — a reverberated mix of our sound source as it passes through a medium. with this concept, you can turn any material into a resonating object that has its own particular resonant qualities and vibrating particularities. here are a few photos of the reverb unit tim and i made, which used a piece of scrap plastic as the resonating medium. below the photos is a sound clip of a song i’m working on that was passed through this reverb unit.
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contact
today tim and i worked through the “how to solder” and “contact mic” chapters of handmade electronic music by nicholas collins.
there are two main steps into building a contact mic. the first is involves separating the piezo disk from the plastic casing (if it has one) and preparing it so you can solder wire into its two main connections: the “ground” and the “hot” [see fig. 1]
next, we soldered a signal wire to the “hot” connection and a ground wire to the “ground” connection [see fig. 2 and picture below].
to complete the mic, we soldered the signal wire to the inner tip of a plug and the ground wire to the sleeve tip of the plug. [see fig. 3 and picture below]
that’s it! plug your mic into a portable amp or speaker and experiment with different ways your contact mic can be used, from knocking against water bottles to picking up vibrations (both musical and tactile) from instruments.
see you in the sun
a lot of people keep asking me what i’m doing for the summer and i never really remember, even though i do have a lot of plans. so here’s my attempt to write them out:
to do!:
-go to montreal
-play/record with savages
-practice the drums more
-work on music projects
-work through my summer reading list
-run more, stretch more
-learn python
-work through the handmade electronic music book
-practice french and japanese
-write more
-go to one more phillies game
-fix up my bike, go for a bike trip
-work on dø
-refine my wardrobe
-cook more
-swim in the sheraton, in a lake, in the ocean
-see cory arcangel at the whitney
-see ryan trecartin/sun araw at ps1
-find a place to live in new york city
…
-move to new york city
pocket farm
my house has been transforming our garden into a full-fledged farm for the past few months, and we are delighted to start opening to the public for use and enjoyment. today from 5-7pm we’re having our first market, where we’ll be selling collards, kale, lettuce, spinach & radishes, homegrown and at affordable prices. come and get some seasonal produce or just stop by and say hi.
darkness has reached its end
virginia astley – darkness has reached its end
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The gentle quietly they go
The tender, kind and bold
The child, the child he has grown
What was warm now lies cold
And hope hides in the heart
No man can learn their song
As clear as this evening light
With eternal hope you long
But faith and truth and love and strength
Once dwelt within your soul
And rivers run as crystal falls
And who is able to stand?
Standing alone
Your heart’s as cold as ice
Your hand is shielding the light
As you search for the meaning of life
And light shall shine from the stars
And rain will fall on this earth
And sorrow shall pour in my heart
As the flowers appear on earth
The darkness has reached its end I’m told
And love is stronger than hate
Iron it rusts as stone decays
And force shall always
Wipe away the tears from your eyes
For love is stronger than
I have hurt my friends I know
And who shall catch their fall
Faithful and true
Hope pure as crystal
And sorrow shall pour from my heart
As the flowers appear on earth
And light shall shine from the stars
And rain will fall on this earth
To you wherever you are
Our love is stronger through pain
So hope faithful and true
So pure, clear as crystal
And sorrow shall pour in my heart
As the flowers appear on earth
///
happy may! happy spring! happy birthday to me!
very nervous system
“I created the work for many reasons, but perhaps the most pervasive reason was a simple impulse towards contrariness. The computer as a medium is strongly biased. And so my impulse while using the computer was to work solidly against these biases. Because the computer is purely logical, the language of interaction should strive to be intuitive. Because the computer removes you from your body, the body should be strongly engaged. Because the computer’s activity takes place on the tiny playing fields of integrated circuits, the encounter with the computer should take place in human-scaled physical space. Because the computer is objective and disinterested, the experience should be intimate.”
the mitten living room series presents
come over for a happening of sorts with audiovisual performance by
alejandro crawford (author of morpheu, esteemed vonomist)
c. violet eaton (aspiring arkansas duellist)
bridget talone (author of the chapbook in the valley made personal)
and
mora (sound balancer/compositional linguist *and fellow mitten resident!*)
@ the mitten (4918 kingsessing ave), 6:30 p.m., april 22nd
and to all the children, congratulations!
i was just accepted to nyu’s tisch school of the arts for their itp program. i don’t know what to say other than i’m very excited, although i feel bittersweet about moving from philly. mostly bitter.
the mitten living room series presents
Lillie Ruth Bussey, The Binary Marketing Show and Lushes
@ The Mitten (4918 Kingsessing Avenue)
March 1st (TONIGHT!), 7 p.m. Eastern Standard Time
$pay what you can for touring bandz
///
craft singles
i did the backend work for deerhaus’s craft singles. available at chinese new year and subsequent live shows are individually-made singles from tradition, featuring a download code allowing for four redeemable downloads of one of the singles.
from deerhaus:
“Introducing CRAFT SINGLES, printed Deerhaus artwork including a song from a Deerhaus artist. With each artwork comes a unique code that allows up to four downloads of an mp3. Codes can be redeemed at deerhaus.com/craft.”
a big tour/sxsw show update post to come!
spring revival
living, the second release by edwin m. white, under the pseudonym eola, is a collection of somber, introspective winter hymns. the videos together work as a visual album, either as an accompaniment to living, or a separate piece unto itself. throughout the 27-minutes we travel, by air, plane and skateboard, through new york, montreal and the etiological lake eola, with special guest appearances by andy white, jack backer, and mike (of run dmt).
video <<<
tape <<<
thank you
weird bangs releases thank you, available at weirdban.gs and chinese new year in a limited release.
thank you to everyone, and congratulations!
our white cube
i’ve spent a month or so working on a few sites using indexibit, a small content management system.
all the sites are still works-in-progress.
///////////////////////////
///////////////////////////
i’m about to finish my so-called life. i just recently watched two great documentaries on joy division. still trying to finish blood meridian. we play again in philadelphia on december 2nd at johnny brenda’s.
afterward, hibernation.
see you in the sun.
Planetarium
Weird Bangs – Planetarium (2009)
Planetarium
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In Response to the Challenger (Holy Hurricanes!)
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soundwalkers
Also, for those in Philadelphia, there will will be a two day morning to night music recording experiment, october 23rd and 24th, 9 a.m. – 9 p.m., open to all. bring your instrument. bring a field recording from your neighborhood. this event takes place at basekamp (723 chestnut st. philadelphia, pa 19106).
www.making.bandcamp.com
doowop
Eola .. CKUT live set by doesare
tracklisting:
1. “Ancient Hill” (0:00)
2. “Eola Channeling” (4:49)
3. “Market” (9:06)
4. “Be With” (17:54)
5. andy white sound collage- “fiddlin about” (20:58)
6. short interview (22:35)
7. “untitled hula caress” (27:59)
8. CHOPPERS OUT – “Welcome to Altered Streets” (31:37)
edwin white, one half of tonstartssbandht, recently recorded his first live set at ckut (montreal) with brother andy hosting the show.
also check out the full 2 hour show here.
you can download his first release here:
they lost their lives
Golden Ages (PHL, and our first full band show)
The Binary Marketing Show (NY)
Lushes (NY)
Savages (NY/CALI)
with Club Lyfestyle DJs Emilio Airhorn + Bananas Fosters afterward
Starting promptly at 6:00 p.m. EST
@ The Mitten
4918 Kingsessing Avenue
$pay what you can (for the touring bands)
i called my dealer, but he aint dealing
TONSTARTSSBANDHT
doo wop choir-cum-noise pop duo from montreal, quebec via orlando, florida
RUN DMT
hazy rolly-polly soundtrack for that 15 minute period right after you wake up from sleeping upside down in your bed
Starting promptly at 8:00 p.m. EST
Ending promptly at 11:00 p.m. EST
@ The Mitten
4918 Kingsessing Avenue
$pay what you can (for the touring bands)
for trish keenan
you’re in a cut-up world
with the goodbye girls
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nature/culture
something something nature something
something culture something
something transformation environment something something
digital media something
technology
something something something.
//
i clicked onto this naturally-occurring object
while stumbling around in my digital media environment.
it is //perhaps// my first chance encounter
with this current transformation of culture through technology.
//
satori
blueberry pie post
not for any particular reason. mostly for redundancy, posterity and increasing my post count.
from a friend:
i used this recipe for the crust, except i think instead of applejack i used rum
filling:
3/4 cup sugar
5 tbsp. tapioca flour
4 tbsp. water
1 tbsp. lemon juice
4 c. blueberries
just mix that stuff in a bowl after you wash the blueberries and pour it straight into the crust. also, that crust recipe should be enough for top and bottom crust. YUM YUM YUM. 9″ pie tin eat ittttttt
i want to eat this so bad right now omg.
bake at 375 F for 45-60 minutes. you might want to check it often to make sure i didn’t fuck that time up. but it sounds about right.
summer plans?
i’m starting a temporary band, and i’m looking for musicians.
it is to be a dmx cover band.
the name of our band is
thee earl simmons memorial orchestra and ruff ryders tribute choir.
leave a comment if you’re interested.
mouth to mouth
our souls met in a river times ago.
you, breathing.
// me, floating
a blue river with yellow flowers floating in it.
circular respiration
// cyclical rippling
neither would let the other sink.
no bodies drowned.
at one time suspending
eventually forced to sink
presently submerged at the bottom of the river
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consolidate yr visibility
<fact><![CDATA[Credibly benchmark client-focused deliverables through bleeding-edge methods of empowerment]]></fact>
<fact><![CDATA[Authoritatively negotiate one-to-one materials and dynamic e-tailers]]></fact>
<fact><![CDATA[Holisticly repurpose one-to-one markets vis-a-vis goal-oriented benefits]]></fact>
<fact><![CDATA[Quickly myocardinate out-of-the-box internal or "organic" sources whereas client-focused resources]]></fact>
<fact><![CDATA[Objectively facilitate end-to-end manufactured products vis-a-vis orthogonal e-services]]></fact>
<fact><![CDATA[Credibly develop sustainable niche markets via adaptive total linkage]]></fact>
<fact><![CDATA[Proactively customize focused portals and enterprise methodologies]]></fact>
<fact><![CDATA[Distinctively engineer resource-leveling information before equity invested technology]]></fact>
<fact><![CDATA[Globally iterate highly efficient meta-services whereas world-class systems]]></fact>
<fact><![CDATA[Credibly coordinate real-time e-business whereas alternative technologies]]></fact>
<fact><![CDATA[Interactively negotiate covalent deliverables and magnetic networks]]></fact>
<fact><![CDATA[Dynamically enhance integrated solutions and web-enabled communities]]></fact>
Hoodie Weather
// 5-15-2010 (sometime after midnight…) @ Dancehaus
> Vietnam – Crystal Castles
> Grand Central, Part 1 (Deep Into The Bowel of House) (MCDE Bassline Dub) – DJ Sprinkles
> Coma Cat – Tensnake
> Second Lives (Lifelike Remix) – Vitalic
> Orange Sunshine Express (Thank You Florida) – Weird Bangs
> Donut (Gui Boratto Remix) – M.A.N.D.Y. vs. Booka Shade
> Baby Can’t Stop (Aeroplane Remix) – Lindstrøm & Christabelle
> Twin Peaks (Golden Ages Remix) – Surfer Blood
> Where’s Your Head At (Klass Remix) – Jean Elan
> Rock the 40 Oz. – Leftover Crack
> How Low Can A Punk Get? – Bad Brains
> Stickin’ – SonicC
> In My Spaceship (Pilooski Remix) – Jan Turkenburg
> Hi-Life – Wally Badarou
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Today the Sun returns to the position it was in when you were born
on my 23rd birthday i went to bed a little early.
shawn white, american hero
her: “half-assed friendly electro”
him: “a sweet slice of bedroom house”
weird bangs – shawn white, american hero (live demo)
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shawn white
half pipe/high flight/outta sight
fresh snow
sick bro
…
american hero
lucid dreams
i had a dream involving eric copeland and a black dice show that was shut down by the fire department.
airborne toxic event
blisswave
teengirl fantasy – azz klapz
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caribou – sun
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¡Ándale! ¡Ándale! ¡Arriba! ¡Arriba!
¿¿¿¿¿quedamos o vamos?????
i’ve only been to mexico via epcot‘s world showcase. a part of me thinks that’s more than enough
…
BUT ANOTHER PART OF ME THINKS NOT.
in our prime
golden ages – in our prime (our first show!)
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mulberry fields
seven samurai
rashomon
ikiru
red beard
yojimbo
dreams
the hidden fortress
i need a break.
matais aguayo – rollerskate
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mustache march
no sleeping allowed
4.3.2010
the ox
w/
ava luna
and
true womanhood
elizabeth fraser got stuck in here somewhere. i’m looking for you.
15.3.2010
cameo
w/
millionyoung
and
butterfly explosion
18.3.2010
w/ the city of austin
// unrelated (but not really):
jan turkenburg – in my spaceship (pilooski remix)
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when you sleep
via Jonas Heuer
pantha du prince – stick to my side
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four tet remix
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hypercoaster without atmosphere
Floridian variations:
A hypercoaster in the style sense is one that is built for speed and airtime. To accomplish this the elements of a hypercoaster are a large first drop, generally several additional drops of declining height, a turn around and then many airtime-inducing hills. Hypercoasters are commonly designed with an out and back layout, although some hypercoasters, such as Raging Bull, are built with a twisted design. All hypercoasters feature lap bar restraints.
// update: looper’s delight
// more updates: HOLY SHIT!
like a fire that consumes everything before it
cy twombly: paintings and sculptures, 1951 and 1953
MIN-OE 1951
UNTITLED 1951
UNTITLED 1951
DIDIM 1951
SOLON II 1951
UNTITLED 1951
UNTITLED 1951
UNTITLED 1951
VOLUBILIS 1953
QUARZAZAT 1953
UNTITLED 1953
TIZNIT 1953
LA-LA 1953
UNTITLED 1953
UNTITLED 1953
// these are just a few selected from a wonderful catalog. for bigger hi-res scans just ask.
nobody’s going to bed with you on their mind
weird bangs – nobody’s going to bed with you on their mind
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back to supercollider….
COMRADES!
COMRADES!
after, say, six-months of collaboration with yowei shaw, i’d like to present power to the people a short doc “about a small, Philadelphia-based communist group called the People’s Revolutionary Party (PRP).”
i provided music that can be heard as the opening composition. revolution!
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begging to differ
“When I was growing up in California there were two things that everyone assumed were good for you. There were, of course, others– spinach and oatmeal, for instance– but right now I’m thinking of sunshine and orange juice. When we lived at Ocean Park, I was sent out every morning to the beach where I spent the day building rolly-coasters in the sand, complicated downhill tracks with tunnels and inclines upon which I rolled a small hard rubber ball. Every day toward noon I fainted because the sun was too much for me. When I fainted I didn’t fall down, but I couldn’t see; there were flocks of black spots wherever I looked. I soon learned to find my way in that blindness to a hamburger stand where I’d ask for something to eat. Sitting in the shade, I’d come to. It took me much longer, about thirty-five years in fact, to learn that orange juice was not good for me either.”
one very important thought
Now that the show is over, and we have jointly exercised our constitutional rights, we would like to leave you with one very important thought. Sometime in the future, you may have the opportunity to serve as a juror in a so-called obscenity case. It would be wise to remember that the same people who would stop you from listening to Lindstrøm may be back next year to complain about a book, or even a TV program. If you can be told what you can see or read, then it follows that you can be told what to say or think. Defend your constitutionally protected rights. No one else will do it for you. Thank you.
not sure
Quaternary or Quartary?
In biology, the non-standard usage “Quaternary structure” is so firmly
entrenched that to refer to “Quartary structure” would be incorrect.
The correct term should really be “Quartary”:
* Quartary (from Latin: quartarius) is the fourth member of an
ordinal number word series beginning with (primary, secondary,
tertiary) and continuing with (quintary, sextary, …).
* Quaternary (from Latin: quaternarius) is the fourth member of a
distributive number word series beginning with (singular, binary,
ternary) and continuing with (quinary, senary, septenary, octonary …
centenary).
i’ll never see you again
Clouds float away like iron tools on the moon
All my time is in half life
Memories over memories
Can I see more than I’m programmed to be
Constellation of orion
A picture with a past
A future so vast
A mnemonic game
On the arc of a journey
I report
There once were cities
Open academies
Avenues and tree
Human law
Automatic oracles
Calender, the years
Verbal hemispheres
Constellation of orion
The repositioned light
The post atomic night
Informing me I’m near
The axis of feeling
Constellation of orion
A picture with a past
A future so vast
A mnemonic game
On the arc of a journey
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i’ll see you again
Aa – Mossy
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the daily life of an actor
“Is it okay to sleep this much?
———-
“Too much sleep….”
———
“What should I do?”
———
“Aaauuugh!”
fr: pass the baton
hormones
sounds like
whishhhhhhhhhhhhhhhhhhaaaaaah
hhhhwwwwwwwwwwaaaaaaaaaaaaaa
aaaaaajksaf;sdfhdjsffse;ffdfd
ooopppppppppdeepdadadadoooppw
wwaaaaaaaajkdsfkjslfhwisiiiii
iihhhhhhhhhhhhhhhhw
good stuff
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opening closed loops
Opening Closed Loops utilizes both sound gathering and emission to produce electronic and acoustic feedback. Repeated transmissions of “silence” are generated by and fed into mutliple two-way radios, whose signals may or may not be routed through analog synthesizer modules. The combination of intercepted and jammed radio transmissions gradually yield distorted sound fields that evoke sounds excluded from the narrow parameters of listenability established for voice based transceiving. The title refers to the “closed loop” that normal communications operate within; the aim of the work is to gradually build layers of feedback that push through a closed communications system to a more abstract, chaotic, and poetic acoustic space.
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are we having fun yet?
dodging bullets
phew! that was close. technology can be difficult. back to our previously scheduled broadcast.
zeitgeist
Philadelphia, PA
- penn blackboard
- septa strike
- ccp.edu
- septa.com
- penn in touch
- penn portal
- penn library
- tumail
- tuportal
- wharton spike
resolution
my new keyboard comes today! until then, this has been working wonders.
>>>
someday i’ll grow to be as tall as the giant
into the arc we climbed
away from an unresolved past
sails taut, across
that unknown future vast
pushed along by gentle
air, light and waves
before we waked off our dreams
we thought of you
and everything at once
then, like a wave of regret
memory of verses sung
a flood to start the day
but though then heed
the great hand
who pulled us up
from the deepest depths
of an ocean of longing,
and charged us to take
certain steps forward
now, just the lightest self
total freedom towards death
but it was a dream about the dread
Oneohtrix Point Never – Zones Without People
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becoming more and more free
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stay on it >>> score >>> MOAR SCORES
he measured the stars
SETI | help find intelligent life
“What do we need to know about to discover life in space?”
How can we estimate the number of technological civilizations that might exist among the stars? While working as a radio astronomer at the National Radio Astronomy Observatory in Green Bank, West Virginia, Dr. Frank Drake (now Chairman of the Board of the SETI Institute) conceived an approach to bound the terms involved in estimating the number of technological civilizations that may exist in our galaxy. The Drake Equation, as it has become known, was first presented by Drake in 1961 and identifies specific factors thought to play a role in the development of such civilizations. Although there is no unique solution to this equation, it is a generally accepted tool used by the scientific community to examine these factors.
–Frank Drake, 1961
The equation is usually written:
N = R* • fp • ne • fl • fi • fc • L
Where,
N = The number of civilizations in The Milky Way Galaxy whose electromagnetic emissions are detectable.
R* =The rate of formation of stars suitable for the development of intelligent life.
fp = The fraction of those stars with planetary systems.
ne = The number of planets, per solar system, with an environment suitable for life.
fl = The fraction of suitable planets on which life actually appears.
fi = The fraction of life bearing planets on which intelligent life emerges.
fc = The fraction of civilizations that develop a technology that releases detectable signs of their existence into space.
L = The length of time such civilizations release detectable signals into space.
Within the limits of our existing technology, any practical search for distant intelligent life must necessarily be a search for some manifestation of a distant technology. In each of its last four decadal reviews, the National Research Council has emphasized the relevance and importance of searching for evidence of the electromagnetic signature of distant civilizations.
Besides illuminating the factors involved in such a search, the Drake Equation is a simple, effective tool for stimulating intellectual curiosity about the universe around us, for helping us to understand that life as we know it is the end product of a natural, cosmic evolution, and for making us realize how much we are a part of that universe. A key goal of the SETI Institute is to further high quality research that will yield additional information related to any of the factors of this fascinating equation.
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And to think I used to go by DJ Kosmos…
SKETCHES FROM COSTA RICA
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INFINITE CANVAS
About the addition of “a blank canvas, the same background color,” Warhol claimed, perhaps ironically, “The two are designed to hang together however the owner wants. . . . It just makes them bigger and mainly makes them cost more.”