Tuesday, March 24, 2009
Monday, March 23, 2009
If you don’t know Kentridge’s work, he is a remarkable artist from South Africa whose animated drawings define their own genre of art-making. Using stop-motion techniques and charcoal drawing, Kentridge draws, erases, draws, erases, photographing each stage in the metamorphosis of his black and white charcoal stories. The results are lyrically beautiful, conceptually melancholic, politically complex films where the passage of time and the narrative’s history become persistently inscribed in the erasures on the page.
But back to Kentridge’s recently published artist’s book. Though best known for his charcoal animations, Kentridge was a printmaker before venturing into film and he has continued his practice of etching and lithographic printing even while working on his animations.
Sunday, March 22, 2009
Agents: HAMMER & ASSOCIATES, P.C.
Origin: CHARLOTTE, NC US
IPC8 Class: AH04N5222FI
USPC Class: 3483331
US Patent 7164811 - Pocket-pen ultra-high resolution MEMS projection display in combination with on-axis CCD image capture system including means for permitting 3-D imaging
A small portable “pocket pen size” projector/image grabber device for allowing an individual to gather, share and exploit information in a projected format in real time, day or night, with other individuals on demand. An ultra high density MEMS mirror display array provides a 1024×768 line projection display. An on-axis 512×384 color CCD imager is also included resulting in a digitally-aligned image capture and overlay display capability. A sequentially-addressed three color chip laser and low cost plastic optics provides full color high resolution bright displays for group viewing. 3-D color imaging is also provided by a binocular attachment to the device which permits the capturing of three-dimensional imagery.
United States Patent Application 20080284894 Kind Code: A1
A device capable of image capturing and image projection includes a housing, an image capturing module, an image projecting module, and a control unit. The image capturing module is mounted to the housing and is operable to capture an image. The image projecting module is mounted to the housing and is operable to project the image captured by the image capturing module. The control unit is mounted in the housing, is coupled to the image capturing module and the image projecting module, and is operable to control operations of the image capturing module and the image projecting module.
Holograms on handsets by 2010
Holographic mobile handsets capable of projecting, capturing, and sending 3D images have been developed by Indian tech giant Infosys...
Wednesday, March 18, 2009
Cortázar Reloaded consists of the simultaneous emission of a visual source and other acoustics: the zenithal projection of a phenakistoscope image and the voice of Julio Cortázar reading the text "Instructions to walk up stairs backwards". The visitor located in the center of the projective space will do the listening and visualization of both sources taken place at a speed adapted for the understanding and unfolding of its meaning. That is to say, the optical effect of the phenakistoscope and the understanding of the text of Cortázar only take place in an optimal way when the visitor settles in the center of the projection space.
Monday, March 16, 2009
The électrotachyscope is an 1887 invention of Ottomar Anschütz of Germany which presents the illusion of motion with transparent serial photographs, chronophotographs, arranged on a spinning wheel of fortune or mandala-like glass disc, significant as a technological development in the history of cinema.
The zoopraxiscope is an early device for displaying motion pictures. Created by photographic pioneer Eadweard Muybridge in 1879, it may be considered the first movie projector. The zoopraxiscope projected images from rotating glass disks in rapid succession to give the impression of motion. The stop-motion images were initially painted onto the glass, as silhouettes. A second series of discs, made in 1892-94, used outline drawings printed onto the discs photographically, then colored by hand. Some of the animated images are very complex, featuring multiple combinations of sequences of animal and human movement.The device appears to have been one of the primary inspirations for Thomas Edison and William Kennedy Dickson's Kinetoscope, the first commercial film exhibition system.
Of course, I made my own animations, too. They didn’t work as fluently, but they gave an indication of what was possible."Michael Sporn
Red Raven Records are a great example of something that beautifully combines all three, predating the use of any kind of digital effects. Each of these was a regular 78 record with the requisite single song on each side. At the center of each was also the requisite label - except in the case of Red Raven records, the label was a bit larger than usual. Printed around the edges of this label were 16 small cartoons, each a single frame of animation. Using the natural spin of the record on the turntable, these images produced a second or so of looped animation while spinning, when reflected off of a central bank of mirrors.
Instead of the usual cylindrical slip of animation that these devices usually use, the angle of the mirrors in the Red Raven praxinoscope allows the images to lay flat on a disc - something that the record itself provides an excellent medium for. In the case of these Red Raven records, this central mirror is also called the ‘carousel’, since it’s decorated, well, like a carousel. It’s also a rare device, far less common than the music / animation discs themselves.
The animations, which can be viewed in this YouTube video, corresponded thematically with the music on the disc itself, and in the case of every animation, the end of the visual loop deftly incorporated itself back into the beginning of the loop, creating a hypnotic crowd of swirling bunnies or dancing children ad infinitum. 20 of these were produced by Red Raven, and are some of the more highly hunted childrens’ record collectibles.
Friday, March 13, 2009
Called Animal Night Life, the two-metre wide sculpture features one hundred and eighty mythological figures, including a minotaur, the Three Graces, a she-wolf and a cherub, captured in various stages of motion. As the zoetrope begins to spin, the forms of the figurines blur, before becoming magically animated by a strobe light which transforms them into coherent, moving characters. Animal Night Life represents Collishaw's reflection on the condition of looking at things. Against the eerie twilight created by the mechanized artifice of the zoetrope, the characters appear to take a perverse interest in each other while we peer curiously at them.
The dreamachine (or dream machine) is a stroboscopic flicker device that produces visual stimuli. Artist Brion Gysin and William Burroughs's "systems adviser" Ian Sommerville created the dreamachine after reading William Grey Walter's book, The Living Brain.
In its original form, a dreamachine is made from a cylinder with slits cut in the sides. The cylinder is placed on a record turntable and rotated at 78 or 45 revolutions per minute. A light bulb is suspended in the center of the cylinder and the rotation speed allows the light to come out from the holes at a constant frequency, situated between 8 and 13 pulses per second. This frequency range corresponds to alpha waves, electrical oscillations normally present in the human brain while relaxing.
A dreamachine is "viewed" with the eyes closed: the pulsating light stimulates the optical nerve and alters the brain's electrical oscillations. The "viewer" experiences increasingly bright, complex patterns of color behind their closed eyelids. The patterns become shapes and symbols, swirling around, until the "viewer" feels surrounded by colors. It is claimed that viewing a dreamachine allows one to enter a hypnagogic state. This experience may sometimes be quite intense, but to escape from it, one needs only to open one's eyes.
Wednesday, March 11, 2009
Tuesday, March 10, 2009
The most naive example of design strategy is that of the nineteenth-century 'Metamorphosis game", which consists os a set of tiles or slabs with dissected images on each face. A later development was the picture brick. Arranging a set of Victorian picture bricks together ro make a coherent image uses a single strategy, while on the other hand a mixture of dissected images produces a 'hybrid' or figure of fun. If two or more people were playing, this could be seen as a minimal interplay of strategies.
Art Based Games, DON PAVEY
This simple discrete use of visual strategies without interpenetration was practised by the Surrealists in their examples of the 'Hybrid' or 'Cadavre Exquis' (a version of the party game 'Heads, Bodies and Legs') in which they drew objects and landscapes as well as human and animal details. After each portion was finished it was covered with paper so that the next artist would not be influenced by what went before; just as in 'Heads, Bodies and Legs' each section of the body is folded so that next person cannot see what the previous player has done. The earliest example I have in my collection is of a complex folded picture of lazarus and Dives with a skeleton, dating from 1778.
Art Based Games, DON PAVEY
(...) creative participation was to be on an equl footing for everyone, no matter what their talents.
Art Based Games, DON PAVEY
ELEMENTS OF THE GAME:
1. your own voice
2. an incomplete zoetrope strip
3. an incomplete "unfinished drawings" strip (see figure 1)
4. a strip for the metamorphose game
a) record a sample of your voice with a maximum of 5 seconds about a subject you would like to raise or just sing for 5 seconds part of a song in the album "There's me and there's you"
b) upload the file in the address: http://www.matthewherbert.com/ before 30 April 2009
c) send us an e-mail explaining your cause or which music you have chosen
2, 3, 4.
a) Chose from one of the enclosed strips (or two, or three)
b) Do your drawing, collage, etc, while you are listening to a specific part of one of the songs; a song; the all album.
c) Send it by post to the following address: ... and keep a copy with yourself (do a color photocopy)
On the 26th May, come to Koko in Camden for our gig. Present your strip at the door along with the code you will receive by e-mail. There will be a way of recording the images of each person in order to show them to the live audience.
Each strip is put together to complete each game. Three different kind of animations will appear on screen.
The voice samples will be mixed live by Matthew Herbert. Some more voices would be captured and sampled during the event.
"There are few things Matthew Herbert won’t try in the name of his music. On his latest album There’s Me And There’s You, the electronic mastermind lets his experimental instincts reign free. A dizzying collection of samples – from nails hammered into coffins to condoms scraping along the floor of the British Museum – are brought together under Herbert’s singular vision. One of the album’s highlights The Yesness, is a patchwork of 100 prominent British people saying the word “Yes”. The Queen and Prime Minister Gordon Brown declined his invitation to participate – their formal letters of apology are proudly displayed on Herbert’s website. The man’s passion for found sounds is allied with his political zeal – a vein that runs right from his ‘90s output to There’s Me And There’s You.
That same audacity will be on display when the Matthew Herbert Big Band takes to Australian stages this month. Together with a fine cast of jazz musicians and vocalists, the band leader re-creates his compositions live without the aid of pre-recorded samples." in Inthemix.com.au
the term 'found sound' is no longer sufficient. it suggests a curious and whimsical listener, adrift in a foreign world and with a merely passive mind to accompany the engaged ear. 'that sound' would be more appropriate to the precision and principle of the pursuit.
my work is no longer about 'finding' sound. it is about recording specific sound. i have stopped being interested in the sound of any door closing, but am now interested in listening to the door of number 10 downing street closing. i am no longer interested in recording the sound of someone eating an apple, i want to hear the sound of hillary benn mp eating a british organic michalemas red apple, in season, standing in the office of the head fruit buyer for tescos.
when it comes to recording musicians, i am interested in applying the same principle. i am less interested hearing a musician playing a piece about the sponsorship of conflict by the west in a recording studio than next to the israeli-built wall in the occupied territories.
music doesn't only have to yearn to be stubbornly separate from political and social forces. it isn't only a universal language. it has it's own dialects. it speaks in regional accents.
i don't wish to just be a passive consumer of the human experience.
i don't want music to be dismembered from the body it sings from.
the one word 'music' just doesn't seem to describe everything that it is supposed to encompass. how can one word describe both verdi's requiem and a mobile phone ring? they are just two entirely different principles.
here are some new definitions.
musicish- a demo
musicad- music that is written for advertising
musicomm- music that is essentially just a commercial venture. eg x factor, american idol.
musicough- music performed in concert halls
musiclient - music written for dry functional events. eg british aerospace promotional videos.
amusic - pop music
musicall - unchallenging music that just wants to be loved by millions. eg andrew lloyd webber.
musicamen - music with a religious function
musicate - music that seeks only to replicate a genre.
musicart - music that tries not to be music.
musick - music used as a tool for oppression
musicash - music performed live while an audience doesn't listen
musicable - music played by musicians for the principle enjoyment of other musicians.
musicahh - music designed to calm the listener.
musicaling - music for the under 10's.
musicle - repitetive music serving a public function. eg big ben.
PERSONAL CONTRACT FOR THE COMPOSITION OF MUSIC [INCORPORATING THE MANIFESTO OF MISTAKES]
THIS IS A GUIDE FOR MY OWN WORK AND NOT INTENDED AS THE CORRECT OR ONLY WAY TO WRITE MUSIC EITHER FOR MYSELF OR OTHERS.
The use of sounds that exist already is not allowed. Subject to article 2. In particular:
No drum machines.
All keyboard sounds must be edited in some way: no factory presets or pre-programmed patches are allowed.
Only sounds that are generated at the start of the compositional process or taken from the artist's own previously unused archive are available for sampling.
The sampling of other people's music is strictly forbidden.
No replication of traditional acoustic instruments is allowed where the financial and physical possibility of using the real ones exists.
The inclusion, development, propagation, existence, replication, acknowledgement, rights, patterns and beauty of what are commonly known as accidents, is encouraged. Furthermore, they have equal rights within the composition as deliberate, conscious, or premeditated compositional actions or decisions.
The mixing desk is not to be reset before the start of a new track in order to apply a random eq and fx setting across the new sounds. Once the ordering and recording of the music has begun, the desk may be used as normal.
All fx settings must be edited: no factory preset or pre-programmed patches are allowed.
Samples themselves are not to be truncated from the rear. Revealing parts of the recording are invariably stored there.
A notation of sounds used to be taken and made public.
A list of technical equipment used to be made public.
optional: Remixes should be completed using only the sounds provided by the original artist including any packaging the media was provided in.
Matthew Herbert (2005)
Love You More preview from Matt Cooper on Vimeo.
"Inspired by the hit song Love You More by 70s punk band Buzzcocks, the film, also called Love You More, centres on two teenagers. The young couple go to a record shop after school in July 1978, the same day the Buzzcocks song is released." Guardian
This is a way of playing games with music.
Everyone wants to make love at the sound of their favorite music. Trying to find the most sexy tune to impress your lover, etc. In this case they play one tune non stop, in loop, and sex is only aloud while the music is playing. When it stops, and during the time the turntable needle is getting in position again, they stop as well.
Tiring of the conservatism of a lot of electronic dance music, the weird soup that is There’s Me and There’s You is Mathew Herbert’s second foray into big band swing. The album is accompanied (as always with Herbert’s work) with a long list of sonic ingredients including, on this disc, the sound of 70 condoms being scraped along the floor of the British Museum, a match struck in the Houses of Parliament, a nail being hammered into a coffin and vocals recorded at a Kent landfill site, to mention but a few. As intriguingly perverse as this material may sound what is truly bizarre about this disc is how conventional it sounds. The shuffles, buzzes, sniffs and clicks are all folded so tastefully and discreetly into the music that what emerges are a series of Brechtian gestures in the direction of Mancini, coffee table jazz and big brassy pseudo show tunes. There is nothing here to scare the horses, whose distressed whinnying one might well be the one ingredient that this sorely lacks.
Herbert is insistent on process not product but here it seems subsumed beneath a conservative romantic gloss which totally lacks the perverse aggression of Foetus’ Steroid Maximal flirtation with the brass section’s bombast, the darkness of Harvey’s pseudo cinema, the sheer whackness of Sun Ra or, for that matter, the sinister mumblings of trip hop. This, by contrast, sounds utterly deracinated music. Perhaps its insistence on upbeat, cheerful and empty sentiment (on the opening track vocalist Eske sweetly sings ‘nothing of great importance, nothing to prick your conscience, nothing of substance’) is some arch attempt to prize a Situationist gap between form and content but the intriguing motoric threat of The Story quickly disappears and this pattern is repeated throughout, with slick hotel jazz and saccharine vocals obliterating sinister Musique concrète intros, the sound, perhaps, of four hundred Wire readers chewing David Toop to a pulp and vomiting up the American Songbook. What’s unfortunate is the absence of disgust, of surprise. This is food too subtly poisoned to pose a threat to any but the frailest of constitutions.
Sunday, March 1, 2009
This symbol indicates individual(s) who is deaf, hard of hearing, or having some degrees of hearing loss.
Assistive Listening Systems
These systems transmit amplified sound via hearing aids, headsets or other devices. They include infrared, loop and FM systems. Portable systems may be available from the same audiovisual equipment suppliers that service conferences and meetings.
Sign Language Interpretation
The symbol indicates that Sign Language Interpretation is provided for a lecture, tour, film, performance, conference or other program.
A friend who owned a record store in the 1980s put it best when he said, "Recorded music is the worst thing that ever happened to music." At first I thought he was kidding, but he explained that before Edison recorded sound most families played music, on their own instruments, at home. Most middle class families had a piano, or at least a guitar and sang and played at home. Involvement was on a whole different level than it is now for most people.
Records changed that, so fewer and fewer people played instruments, but at least they were listening to records. They'd put a LP on the record player, sit down and listen to music. Yeah, I know that seems a little strange in 2008, but people actually did that on a regular basis. Especially when they bought a new LP or 45, when they really wanted to take it in, they listened with their eyes closed.
But when CDs came out people immediately used the format's longer playing times to do other stuff, they were no longer tied to the music and stopped listening. Music was just there, filling up space.
Fast forward to the present and now they don't even have to think about the music they want to play. They hit shuffle and let the iPod program the music. And once music is relegated to the background sound quality is no biggie.
"The problem for labels and artists, though, is that their business has long relied on selling music rather than generating money from what people do while they're listening to it. "
"Don't Sell The Music, Sell The Time Spent Listening To The Music"
"More to the point, they haven't yet made it easy for innovators such as Project Playlist to build new businesses that automatically generate income for copyright holders. That's what the major television networks have achieved in the past year by making their programs available online with built-in advertising."
"Project Playlist is one of a growing number of online services that enable people to find, arrange and play the songs available (legally or otherwise) on the Net. Because they don't store songs themselves, several of these services have argued that they don't need to obtain licenses from or pay royalties to the labels. Naturally, the major record companies disagree. Two popular playlisting sites with no visible means of support — Muxtape and Mixwit -- folded rather than fight or strike deals. Project Playlist, which sells advertising and has raised more than $20 million from venture capital firms, was sued by Universal Music Group, Warner Music Group and EMI Music in April. Sony BMG held its fire, and eventually agreed to grant a license. Playlist services could be an enormous boon to the labels."
"'Alternative distribution deals in mobile and social networking are important ways for the music industry to fill the gap left by the decline in traditional revenue streams.'"
However, sometimes, I just wanna pump a song in my car while I'm dealing with the fact that I'm on my way to work. There's nothing quite like it. Not to mention when you get off work, and play something like "Beautiful Day" by U2.
Computer speakers are just fine for what they are, but we all know that they don't even touch our sound system speakers, car speakers, auditorium speakers, etc. So let's get down to business.
How To Download Music from Anywhere
Okay, this is easy. Just download the great program Myspace MP3 Gopher from our server. Extract. Open. Put in the friend ID of the music page you are extracting the song from. (The easiest way to get the friend id is just hover over any link in the profile like send message and you'll see at the bottom status bar of your browser the id. It will look something like this: http://messaging.myspace.com/index.cfm?fuseaction=
Now open the program and enter the ID, and you'll see the music list.
Now double-click the song, hit download and it's that simple!
If you haven't heard about the Google 2 Napster method yet, then you're quite frankly out of the loop. It's sort of something you have to know about. Basically, you can type in certain codes to make google search directories for any type of file you want (programs, music, videos, pictures, pdf/ebooks, torrents, etc).
Yeah, so here's an easy-to-use interface for doing just that!
Yes, I know, everyone and his mother knows about Limewire. But it deserves at least a mention, don't you think? Just download, install, and search for media files P2P style. Hey, it works!
Basically, torrents are little files that act as doorways to download whatever file is attached to it. Confusing? Yeah, I know.
Just download BitTorrent, visit torrents.to, and find just about any file you like! That encompasses a lot more than just music. Guaranteed.
Usenext is kind of the same concept as torrents/limewire, except it's all newsgroup based. So basically, it's faster and easier.
Just visit UseNext.com and read the instructions. I should mention that UseNext ISN'T FREE, it does cost a monthly fee. It isn't very expensive at all, though, and they do offer a 14-day free trial.
This is a simple, little google-like page.
As you can see, there are 3 basic options: iJigg, MP3 Realm, and Esnips.
This one is tricky, but overall fairly simple. Just select iJigg and search an artist/song. For this example, I'll search radiohead. So this comes up:
Now, let's click DOWNLOAD on the first result on top, Karma Police. You'll see that it simply loads a blank page with the text 'http://www.ijigg.com/cgi-bin/loadSongData.cgi?songID=V2BAPAD'... wow, what does that mean? Don't worry, it's easier than it seems. Just copy/paste this string of text into your search bar like this:
Hit enter. Wow, great another blank white page with simple text. It's okay, I promise... the text returned this time is:
http://staticmdb-002.ijigg.com/songdata/19PywANEAkpfxeId0S.mp3 Rabbits in my head - karma police 01:58 radiohead karmapolice alternative rock thom yorke india Rabbits in my head 24 0 5 1209223757
What YOU want is that first part, http://staticmdb-002.ijigg.com/songdata/19PywANEAkpfxeId0S.mp3 - VOILA, you have yourself a direct link to the mp3 file for the song Karma Police by Radiohead.
Now this one is a heck-of-a-lot easier. You just search the artist/song, and hit download...boom. :)
BOOOOOOO! I don't understand this one yet. Maybe you do?
Get off your patoody and do a little research! It all starts with google...
I hope you've enjoyed this article, please subscribe on the top right if you'd like to know when more suave articles are posted!
Posted by theempty at 7:08 AM