Tuesday, December 15, 2009
As for my interest in interactivity and storytelling I see lot's of possibilities...hmmm. I can see googoles of data served by every microlayer, now, if I can only remember where I left my glasses...
Monday, December 14, 2009
While searching for an appropriate picture to help me cut through the fog I had trouble finding one of the millions of miserable children which survive doing such a thing, because Corbis Corporation, the photo "service" owns most of them. I wonder, do those children get a percentage directly deposited to their pig accounts?
Saturday, December 12, 2009
Originally, I had wanted to take files from Second Life and upload them to Isadora to make a three-screen Machinima movie. However, I had many problems with the footage I filmed in Second Life. After spending many, many hours capturing footage of my character dancing everywhere from ghettos to sacred sites and dance clubs, I found that many of the files would not open correctly. I don't know if there was a bug or what, but for some reason most of the footage I shot became unusable. So, I learned from this that in the future I should work in segments..capture a little, test it, work with it and then move on to capturing more. That way I will find out if there are problems that need to be worked out before I invest a ton of time in one stage of the process.
I took some of the files that DID work and uploaded them to Isadora where I began to play around with altering the footage, even to the extent that it became totally abstract. I think many fantastic opportunities still await in using Second Life with Isadora.
This Machinima is the first try at bringing Second Life and Isadora together. I put images together that showed some of the different processes I had gone through. I also used sound files from freesound.org. So, the end result is really just a collage of sorts.
Monday, December 7, 2009
Saturday, December 5, 2009
Tuesday, December 1, 2009
Saturday, November 28, 2009
Monday, November 23, 2009
I got really excited about all of this and even about the possibilities of making straight on Machinima videos with little abstraction. But, then I started to wonder about copyright. Did individuals who created the trees have a copyright on their trees? Would Linden Labs have some rights to everything I would make within their virtual landscape? What if I abstracted the content to such a potential that it could not be recognized? Could I be sued for filming an avatar without his/hers/its consent if its name appears above its head and the shot is included on a short machinima film that is uploaded to YouTube, receives 200 million hits and shoots me to superstardom? Ok, just kidding! But, you know what I mean.
I did a quick google search and came across this article: EFF Lawyer Says Second Life Copyright Issues "In Some Ways Worse" Than Real Life
Here's the meat of the article:
"Second Life in some ways is worse than real life. That's because users retain the underlying intellectual property rights to their SL creations. And after all, as Fred pointed out, you can walk down the street in real life without worrying that the textures in the sidewalk are copyrighted. "In Second Life these are gray interesting mysteries" around the law, he added. Something worth considering for people who publish screenshots or machinima extracted from SL. It's been argued that if you run a photo of a Second Life street, you don't really need to get the permission from the creator of every single item in the frame, just as you don't need to do so when you take a photo of a New York City street. However, that assumption has not yet been tested in court. As Von Lohmann added, most of the Second Life community is unlikely to be aggressively litigious. But if Second Life continues growing, I believe that sense of good faith won't always hold."
So, after reading this, I began to have second thoughts about using Second Life for content creation. Why would I want to put all of that time an energy into learning how to use it, or film scenes and edit them, etc., if ,down the road someone could tell me that it is not really my content at all, but belongs to ten other individuals, one of whom would like to sue me?
The article did state that "the Second Life community is unlikely to be aggressively litigious. But if Second Life continues growing, I believe that sense of good faith won't always hold". And, that's what I'm worried about. Any thoughts?
As an alternative to cable TV, users of the website surfthechannel.com can look under the category of television to see programs from around the world. The opening page has four different types of searches available.
Sunday, November 22, 2009
Saturday, November 21, 2009
Wednesday, November 18, 2009
Thursday, November 12, 2009
Sunday, November 8, 2009
Saturday, November 7, 2009
This is a graphic I made for Dr.Sanchez. Check out his presentation Co-Evolution of Man and Machine: Neuroprosthetics in the 21st Century.
This is a particular area of interest to me since I started experimenting with cursor control via electrical body feedback in the early nineties although my focus was more as a game designer, which is what I was doing at the time.
Here are some pics of my biofeedback contraption. I built my own "electrodes" which connected to the battery snaps at the back, but I could not find them for this post. Of course all of this can now be done with a cheap microprocessor with a much better clock rate. I remember spending a few hundred dollars thinking that gamers would be interested in such input device, but, alas, it was not so. True, it took a lot of training and effort to move the darn cursor, but it worked, lazy bastards!
Propeller by Parallax which would be quite enough to achieve a much better result for a fraction of the cost and would be a lot of fun, anybody?.
Here is another approach well implemented by those cool Norwegians. Thanks to Master New Media Designer extraordinaire Virgil Wong for the link.
Friday, November 6, 2009
Wednesday, November 4, 2009
I have to admit that before this class and this reading on MMOG. That I hadn’t given much thought to MMOG. I personally have never participated in any of the games mentioned although through the years I’ve known many people who have. Probably, the most interesting to me in the historical narrative of the development of online gaming was the information about how politics has influenced the development of the games. I find it fascinating that part of the reason that Korea has lead the way with games such as Legacy was that rather than importing other commercial gaming systems from Japan (which was not allowed post WWII the country focused their attention on broadband. That one difference made a huge impact in their country being successful in the online gaming business. The other fascinating thing to me that was pointed out in the article was that the way the different cultures interface with MMOG is different. For more communal societies, the users gravitate towards game that better reflect the society they know.
In the second set of reading I was asking myself “what is the purpose of the game?" Gaming is such big business and has been extremely successful, but why? The reading cleared this up for me a bit because the developers are asking the same question. What is it about these games that draws people in? Is it the fight or the social interactions or some combination of both? What method of payment works best? What Leveling up method keeps people interested? I think the development community knows that the social interactions and some sort of goal are key but they cannot have a free reign society because the survival of the fittest mentality tends to take out all the new players too quickly (which isn't good for business or for social satisfaction).
I think we'll have to stay tuned to see where this goes. As to the satisfaction of "why they are popular" I found an interesting article on The Psychology of MMORPG. In this article the author conducted an online survey for 3 years from 2000-2003 of users who played EverQuest, Dark Age of Camelot, Ultima Online and Star Wars Galaxies. They had anywhere from 2000 to 4000 responders for each survey they posted. Many of the questions were related to social interactions both in real life and in the game. One static that really caught me was that of women gamers 59.8% participated in the game with a romantic partner and 39.5% of female responders participated with a family member. There were also many other interesting statistics about friendships within the game. It seems to me, that at least for women, the huge draw is the social interactions that can be had, in some ways, much more easily in the game than in reality. Maybe the MMOG has taken the place of the Tupperware party. Time will tell if it is a passing trend or is here to stay.
Tuesday, November 3, 2009
And please, while you wait, tag your posts!
Wednesday, October 28, 2009
Monday, October 26, 2009
ISMAR 2009 was a mixed bag, some awesome talks and demonstrations and on the other hand very few vendor kiosks with disappointing demos that looked more like 2001. Yes, some AR headgear was almost tolerable but with poor image quality (basically little low-res tv's hung in front of your eyes). Although there are already working prototypes of retinal projection none was available, and this is the technology which I believe will be both less intrusive (almost ubiquitous) and at the same time totally invasive with a direct path to your brain.
I think that all head worn displays suffer from an extreme case of risk-aversion, incrementing oh so slowly, sensors and devices that are already mainstream, like accelerometers, magnetic compasses etc. They need a serious garage-shock! anybody there?
The conferences, on the other hand, were fabulous. It was hard to choose which one to attend, but we stayed with the Arts&Humanities chapter most of the time, except when some very well known presenters gave their demos, like Pattie Maes from MIT wearable computing lab which demonstrated the "SixthSense""a device developed by Pranav Mistry that we had already seen in a TED video, or the HitLab guys from New Zealand with which we had very interesting conversations about their various tools and projects. We also found out that they are already working very closely with UF's department of Engineering.
And talking about projects, I was really impressed by Helen Papagiannis from York University in Toronto. She presented work utilizing marker tracking with a custom library created at their Augmented Reality Lab in the Department of Film. This was the first time that I have seen a truly creative an original work which has gone beyond technology and in the process of becoming a new language, a new form that she might not even be aware of. I am sure we will hear more from her in the future. The video above is only a small taste. But in a shorter term she agreed to make a virtual presentation to our class, just need to coordinate times! Very exciting.
The other high point for me was the presence of Natasha Tsakos, whose work we have also seen in class. She too agreed to visit us online. It was nice to see her after almost seven years, from a theater student to a full fledged international performer and media star. We had a chance to talk about the ethics of technology and our responsibility as technoartists in this world and time that will be crucial to our survival as a species, not to mention other life forms that we are decimating as we boldly go where no one has been before.
Our presentation of the virtual alien controlled real-time from Digital Worlds was a smashing success. Eyes and mouths open, plenty of smiles and excitement. To be honest I myself was surprised of the enthusiastic response, being a very techie and sophisticated audience. That made me realize that we are on the right place at the right time...! Using an Open Source game engine running code by Anton Yudi and my 3D character and environment we were able to advance a few steps towards physical-virtual avatar control. Still a long way to go to be completely untethered.
Jarrel Pair, the organizer who introduced us, said we had taken a great risk by presenting something live, in real-time and involving so many variables. In reality it was nerve wrecking! Internet connectivity via ethernet, which we needed because wireless was so spotty, was non existent until about 4 minutes before our group began (we were 3 presenters in a panel). But once we started everything went absolutely smooth, even beyond our expectations.
Pictures coming soon...
-Pursue own interests within your academic area in the context of virtual environments
-Utilize qualitative and/or quantitative research methods and identify, discover, or determine the answers to critical research questions within your field of study
-Publish on Blurb or Lula
I will explore how to create an online network in a virtual environment that serves as a teaching tool and a place for a global community to converge around a topic of interest even if they are physically located thousands of miles away.
In this paper, I will specifically explore how to create a globally connected network around BAM!
To do this, I will flesh out how to build a virtual world that does the following:
Hosts an online educational space that teaches about the history of trance dance through videos/ photos/ text
Hosts an online performance space that enables djs to stream music live from any location in the world to multiple locations that can be experience BAM at the same time
Hosts an online convergence space where speakers and participants can share their experiences in real time and have their experiences cataloged. A mythical character will be the host.
Hosts an art museum that will hold the generative artwork of all involved in BAM across the world
Hosts a store that sells the generative artwork for download to be put on computers as screensavers, displayed on screens during parties and fundraisers, and to be used by artists in music festivals across the world.
The techniques of machinima creation will aid me in creating an abstract art video that celebrates ecstatic movement as a common language capable of uniting people across barriers and showing our common humanity. Real world dancers and avatars will dance in extended spaces that overlap real world environments with virtual ones. I will explore these spaces within the context of community building and consciousness raising. Thus, a spectrum of environments will be explored. Some will acknowledge the planetary wisdom of ancestors connected to the land. Others will reveal present day environments which have been mistreated. On one end of the spectrum, themes of global warming, pollution, war, and hunger will be explored. On the other end, a positive future will be imagined. Through it all, the wisdom of people who have come before and been stewards of the land will be respected. These environments will be explored through movement.
Film Shamar's avatar dancing in natural setting in second life - ocean, forest, stream, sky
Film Shamar's avatar dancing in polluted environments in second life - trash dumps, corporate logo environments, dark desolate places, online protest sites
Film Shamar's avatar dancing with other avatars in environments that represent a positive imagining of the future
Download clips of films/ pictures that show bombs, guns, death, hunger, destruction
Download clips of films/ pictures that show positive imaginings of the future
Film dancers in environments around Gainesville
Create text that honors ancestor voices
Use Isadora to create a video that combines all of this.
I just found out about these webinars that will be hosted in Second Life. This is a great opportunity to see how Second Life can be used to teach and network and bring people together on a particular topic even if they are spread out across the world.
Friday, October 23, 2009
With its usual lack of understanding of user needs or wants Microsoft has come up with probably one of the worst product launch campaigns in the annals of advertising.
In consonance with their overbloated, indigestible and socially irresponsible practices, Microsoft launches Windows 7 by partnering with Burger King and offering a "Windows 7 Whopper"!
With over 2500 calories, this obesity and artery clogging, hormone-laden, environmentally devastating promotional campaign will probably (and hopefully) do as much harm to Microsoft and its shareholders as they have inflicted upon users for over 3 decades.
The vomitive offer features 7 greasy patties for only $8.55. What a bargain. Check with your insurance company before buying Windows 7 to see if they cover software-induced triple bypass surgery. But hurry, this offer is good only for 7 days and after that the price goes up to$ 15.86.
What's up with the 7's? do they just want to up-one the famous 666 you know who? That would be bestial.
In researching how to animate text for the names of the performers in the Live Vibe TV Bach presentation, I tried working with both Flash and Isadora. There seemed to be no advantage to Flash in that the overall production is going to use Isadora to control the multimedia components for the event. Isadora offers an amazing versatility of effects and modes. It comes with examples of how to set up a series of variables and controls, one of which is shown on the screen capture above. Only focusing on the possibilities with text, the following are just some of what can be accomplished:
1) Showed alpha channeled text over video images
2) Allowed for control of font size, color, and style (can match logo fonts)
3) Allowed for control of location and/or rotation of text
4) Create effects with the text such as changing it to dots, or cutting it into
sections which then come together to form the names
5) Animated on an x,y, and z axes
6) Allowed for button or toggle control of chosen functions
Sunday, October 18, 2009
Saturday, October 17, 2009
In the essay of Tele-Agency: Telematics, Telerobotics and the Art of Meaning, Edward Shanken addresses the idea of determining how new media are to be used. It is a very similar discussion to what we have read in prior essays, however there is more of a focus on the use of certain language. Specifically, he argues that we should reevaluate the use of the terminology of “master-slave” for future work with robots. I think that it the language itself may be a hindrance in having mutual interactions between the machine or robot and the human. Shanken argues that a more “object-object” set of definitions may be more appropriate as a starting point for discussion and again brings up the point that the machine may be capable of arriving and consciousness which would change the way we engage with them. A primary issue is that the ethics for how object-object art and sciences is to be achieved should be determined.
Although I am still quite skeptical of machines achieving consciousness, I can see where we would need to discuss the ethics of such thing as it helps to structure how we will interact with other beings and machines. I could certainly agree with the statement he makes that eventually the "master" reaches a point of not being able to live without the "slave". Sometimes I wonder if we haven't already reached that point with our technology.
The discussions in the paper about telephonics was very interesting to me from a more practical point. I like the idea of using the technology to be able to interact with artistic designs in a "real-time" situation. In looking further into the work of Norman White and the Telephonic Arm Wresting I also found some other works my Norman White who has spent most of his time working on interactive media. One particular work that I found very interesting was the HearSay device from 1985 before email was commonplace. This message was around the world and translated into various languages. The final message had the major components of the message intact, but the details were either removed or changed. The original and final part of the message are illustrated below:
STILL SHORT OF BREATH, THE MESSENGER PULLED HIMSELF TOGETHER. HE LOOKED THE KING IN THE EYE AND GASPED: "YOUR MAJESTY, I AM NOT WAITING FOR A REPLY BECAUSE THERE IS NO MESSAGE BECAUSE NO ONE SENT ME. I JUST LIKE RUNNING."
THE MESSENGER, STILL PANTING, LOOKED AT THE KING AND REPLIED: YOUR MAJESTY, THERE IS NO NEED FOR AN ANSWER. AFTER ALL, NOTHING HAS HAPPENED. NO ONE SENT ME. I RISE ABOVE EVERYTHING.
Monday, October 12, 2009
No need to watch the entire video, but I've posted it because I was intrigued by the way that Second Life avatars and environments were mixed with real life scenes, sometimes actually within Second Life through television sets. Other scenes were combined with Second Life through editing software techniques so that various layers were created.
Also, I took at look at the blog associated with this video. The master's student who made this video was concerned with indeterminacy and how it acts "as a significant governing factor in the articulation of our relations with others, reinforcing our description as time-based entities traversing the passage of the everyday". Mike Baker, the master's student, also talks of the "Roaming Body" and how "our meetings and encounters with people frequently manifest as disjunct mis-communiqués and dis-engagements".
I think this is especially true in the parts of the world that have access to computers and cellphones etc. We always seem to be on the go with something else to attend to. But, in other countries that I've been, people have related in entirely different ways. In the countryside of Northern India men would sit under a tree for hours and drink chi tea and talk. In Quito, Ecuador parks were filled with men in the middle of the day playing soccer and chess. Granted, this was largely due to the economic situation at the time due to the dollarization of the country, but the fact remains that people were relating differently. It was not a quick hi and by or a few words, but afternoons passed together on a regular basis.
So as I think about us as "time-based entities", I wonder how the concept of this has changed over the generations. How was time experienced 15,000 years ago, 5,000years ago, 300 years ago, 50 years ago, 10 years ago? What factors have contributed to the ways in which we experience time? How will multi-user virtual environments or chips implanted in the brain capable of downloading information change how we experience time and space? How is time experienced in the same moment by different people in different countries with differnt cultural and social values? Well, these are just some questions and thoughts that arose from watching this video and reading Baker's blog.
Saturday, October 10, 2009
Wednesday, October 7, 2009
"A research team led by professor Jun'ichi Ushiba of the Keio University Biomedical Engineering Laboratory has developed a BCI system - which stands for brain-computer interface - that lets the user walk an avatar through the virtual world that is Second Life without using mouse, keyboard or any other controller but the power of thought."
I had no idea anyone was doing this. I think I'd need a choice though. I wouldn't mind moving my avatar with my brain signals for awhile so long as I could switch to some sort of body motion detection system. I'd enjoy walking in real life in front of a camera and having my avatar do the same.
Tuesday, October 6, 2009
(You Tube excerpt)Austrialian artist Lynette Wallworth was a mentor at the Producer Institute this year at BAVC in San Francisco. Her installations utilize technology to amplify and celebrate the human spirit. During the course of these intense 10 days, she engaged with filmmakers and technologists in fruitful collaboration and also entered Second Life for the first time. Certainly Draxtor Despres had to sit down with Lynette's avatar alter-ego Rasaa Mistwalker and chat a little about physical versus simulated reality.
Sunday, October 4, 2009
The article mentions her book, How We Became Posthuman, which I went ahead and reserved at the library to continue to discover more on her ideas. The idea that the "body is seen from the outside", while "embodiment is experienced from the inside--from the feelings, emotions, and sensations that constitue the vibrant living textures of our lives" provides an interesting context for analyzing the differences between what we are as a physical human and how technology may enable us to "live as disembodied information patterns."
I've read a lot of psychology, and her mention of how computer games have actually effected a 21st century american adolescent by changing the neural connections is something that I don't find hard to believe. Its a fascinating idea if not scary concept to think that we are changing the nature of human beings by the rapid development and expansion of computing technologies. As we strive to be "developing cars and highways with interlocking computer systems that will enable cars to drive themselves," we also have to analyze the implications for how it is changing our embodied interactions with the environment.
I looked up the artworks she mentions in the article, including Einstein's Brain, and while the artists in these works didn't care for the aesthetically pleasing art that I am more drawn to, I do relate to their belief that the "world of consensual reality does not in any sense exist out there in the forms in which we perceive it."
It is new for me to start thinking along the terms of the posthuman, where consciousness is no longer the "seat of identity" and can now only be "reinstated by losing the body and resituating the mind within a computer," but will continue to integrate this into my knowledge and thoughts about the 21st century world we are in.
Saturday, October 3, 2009
In this article on “Of Writing Machines and Scholar-Gipsies” Christopher Keep comments on the teaching of humanities in universities with increasing presence of technology and machines. It is an interesting essay and does pose a few questions that should be considered. The first thought that I have is essentially in seeing the machines as tools in which the humanities (specifically literature) can be brought to life. I do not see that automatons or any other machine creation is a threat to the humanities or to human-kind as is possibly eluded to in this essay because the automaton is still an expression of the work of the humanities. The literature is an expression of the ideas of the authors of their age and the use of blogs, VR, video games or comic books in our age does not discredit the fact that they are still expressions of the authors’ thoughts. In fact, many of the ideas of literary works can be brought to life in “new” ways by the new media. The author essentially says this argument is not new because as works were translated into English the same debate was had of the appropriateness of translating these literary works as it would take away from what they represent. I suppose in many ways the same conclusions have been drawn as we create libraries and recreations of literary works within Second Life. The other main theme of the essay that I find humorous is that as humans we have created machine and then have used these creations to try to differentiate why we are different from them. The main way in which we are different is that we have created and have tried to express ourselves. In that way, are automatons, virtual realities, or games any different from literature?
Thursday, October 1, 2009
“Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours.
But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power.
For the last twenty years neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.”
Wednesday, September 30, 2009
Being as we are at the verge or perhaps in the middle of that threshold or bifurcation of our own destiny, it is hard if not impossible to observe with parsimony the course of action. In that liminal state where turbulence becomes organized into myriad eddies and flows and the “singularity” approaches, every theory or hypothesis seems to have some validity since the information or data we analyze is particular to our point of view and seldom encompasses a bigger picture.
Gregory Bateson, reminiscing about the Macy conferences,1 goes further by suggesting that we never know the world as such. He states that “We are our epistemology” since we only perceive and understand the world through what our sensory apparatus allows.
However the birthing environment of the open network where data itself acts as a “controlling agent”2 is beginning to show a pattern that is itself fed back into the system, and once the critical threshold is achieved, some theorists suggest3 it will give raise to the emergence of a machinic consciousness.
1 It was at the Macy Conferences that Norbert Wiener coined the term ‘cybernetics’.
2 Manuel Delanda, “War in the age of intelligent machines” Swerve Editions, New York 1991, p163
3 Hofstadter ,"Godel, Escher, Bach" Zenon Pylyshyn, Mind Design Andrew Hodges, Alan Turing
Monday, September 28, 2009
To quote Hamlet on the Holodeck:
"...the inevitable process of moving away from the formats of older media and toward new conventions in order to satisfy the desires aroused by the digital environment."
How long does it take for people to start using the peculiarities of a new medium creatively?
Digital media is so new and moves so fast that we cannot even begin to recognize the difference with what has come before, because of the fact that digital media is itself an eternally shifting and morphing media.
When photography came into being all photographers could do to cope with such technology was to borrow from the portrait or landscape painting of their time. It took visionaries like Christian Schad, Man Ray, and Laszlo Moholy-Nagy, almost a hundred years since Nicéphore Niépce captured the view from his attic in 1826 to break away from the convention of the borrowed and explore the potential of the medium, but alas, it was short lived because the masses demanded their likeness more than that which they could not understand.
Then came film, which borrowed the narrative of theater (I am simplifying of course) and continued with the tradition of recording "reality" (that word...) while in fact it was, and always has been a mere optical trick and a little more that is hidden from the viewer
So now, when digital media arrives, we seem to be unable to grasp the potential, and how could we, if we look to the past instead of the future? Why does SL or any other VR looks as pedestrian as a mall, a battlefield, an airport, a castle, a house? What is it that we need that prevents us to discover the new?
The capability of Machinima was unprecedented in the world of Media, until the advent of FPS games. In a way it is similar to the advent of 8mm and then Super8 in the 60's. Lot's of people started making movies and that led to some interesting careers since some of those people are now known filmmakers.
One problem, that can be seen as an advantage as well as a step backward is that precisely the fact that production can be made on the cheap (or "free) and that anybody can swing a "camera" around makes for very poor end product. Machinima, despite its potential as a cheap story-telling medium or prototyping tool, an animatic of sorts (and I am interested in those aspects myself I should say), is that it also misses the point and becomes comfortable with emulating the rich uncle. Understandable though, since it lives and has grown precisely in that protected environment where the fascination with the new becomes very quickly a reflection of the old.
There is the chance of being one of those pioneers who dared to see outside of the box, if only for a short window of opportunity before it fossilizes into the same old crap dominated by corporations and transnationals to keep you under their control.
I think it is very exciting possibility to be one of those pioneers.
Find more videos like this on Work Literacy
In addition, here is a very comprehensive set of SL related tutorials that is up to date.
Sunday, September 27, 2009
Saturday, September 26, 2009
Thursday, September 24, 2009
Is the actor, artist, filmmaker, farmer, soldier, different in any fundamental way in terms of the reality of his/her life? Are the players of online games, a stripper in Second Life, an Ebay entrepreneur, living a life less “real” than the banker, the Jihadist or the Olympic marathon runner? And if so, what or where is the difference? Is it in the space where the performance takes place, is it the intensity of pain or pleasure or the time spent in a particular activity that defines reality? if not, then what? How is performance different from real life (RL)? How is RL different from virtual life (VL)? How do both coexist? Other than questions of embodiment, which many theoreticians deal with, they are in a certain way indistinguishable from each other. In Koyaanisqatski, architectfilmmaker Godfrey Reggio evidences how humans are part of the pattern or flow of information that constitutes the world at large. The utilization of technical means such as high speed or time-lapse photography allows Reggio to discover and reveal those things that make us who we are in the time and place where we find ourselves, in this “life out- of-balance”.
Arturo Sinclair, Krems 2008
Tuesday, September 22, 2009
Monday, September 21, 2009
Here is a clip of artist and technologist, Rokeby. He has transformed himself into a cyborg as a life project and connects his brainwaves to his wearable computer to make brainwave music and art. This clip was part of The Art Show shown on C4 october 2004.
In 1998, when Kevin Warwick, researcher and Professor of Cybernetics at the University of Reading, England, implanted a silicon chip transponder into his left arm and connected it to his nervous system, he became the world's first cyborg: a man-machine hybrid. Some call Kevin Warwick a pioneer in the field of neuro-surgical implantation, others think he is a dangerous scientist who has gone crazy and wants to change mankind's evolution by creating a superior race: the cyborgs. In this video interview we talk about ultra-sonic senses, brain-to-brain telepathic communication, the therapeutic benefits of his experiments and why he think's he won't be the only cyborg on this planet in the future.
She tells of an installation piece in which "one user wears a helmet capable of sensing her electroencephalic activity, including alpha, beta, theta, and delta brain waves". The brain waves along with other biological data are collected and the data is used to trigger various things to happen in the installation. For example, the user's brainwaves are converted to midi files and the resulting sound becomes the sound scape of the installation.
This really interested me. So, I searched youtube to see what others are doing with brainwaves and interactive art. Here's what I found:
Nina Sobell at the Getty Center
Castronova also pointed out that gaming companies are making profits in the hundreds of millions just from the money customers spend on creating thier avatars. Wow, as if we didn't already have enough to spend money on! Now, we've got to go around paying for virtual reality representations of ourselves. Will there be a social stigma against those with low-quality avatars as happens in Neal Stephenson's novel, Snow Crash?
Castronova ends by talking about how virtual worlds will become highly commercialized. I hope these virtual worlds don't become 3D Myspaces with advertisements lining the walls everywhere I turn!
In the Waiting Line - music video by Zero 7 (2003).
This composition was also featured on the Garden State movie soundtrack . This video is also the first machinima produced music video, using the animation engine from the Quake 3 video game, and the rotoscoped MTV "Breakthrough Video" Destiny (2002), both for the band Zero 7.