frisson: desiring machine replete
double-rotation and piston current at Second Life The Accidental Artist
at central pavilion
http://www.alansondheim.org/ frisson jpgs
observe stand sit rotate
2 videos/concepts -
First video - Julu visits a visitors center in Second Life and listens in.
http://www.alansondheim.org/gossip.mp4 concept: intervention
Second video - Gary Manes' modified proximity sensor script sends Julu
into the depths instead of objects. Julu thereupon rides an object into
the depths, much to our amusement. There are two objects: female & male,
that stumble about.
http://www.alansondheim.org/shifts.mov concept: script error turned into
new and unexpected behavior (aesthetically pleasing).
http://slurl.com/secondlife/Odyssey/48/12/22 (Second Life url for site)
Concepts / Ideas - final outline for the talk tomorrow -
What we've been doing for the past six and a half months -
1 Access Grid:
a. Circling the planet, routing data (slightly similar to bang path) -
developing visual / audio feedback and resonances. Changing instrument
timbre. Charting routing speed in ms.
b. Phenomenological studying of classroom/board/transmission rooms.
(Visual lobby/room surfing.)
2 Choreography (dance with Foofwa d'Imobilite, Kira Sedlock, Azure
Carter):
a. 'Psychogeography' - using landscape as participatory.
b. Avatar imitation/extension (Kira: 'avadance') for projection,
recording, etc.
c. Face-dance: Scowling, imitating, etc.
d. Technology:
i. Using Very Low Frequency (VLF) radio: atmospherics (played back in
Second Life (SL).
ii. Vibration sensor used to record sound of dancer's movement.
e. Labor, physical work involved in dance/music.
i. Ennui piece.
ii. Hi-speed music/sound.
3 Other:
a. VLF recorded in various areas - what are the anomalous signals
generated elsewhere?
b. Haptic Devices: What occurs at mathematical limits defined by computer
limitations (i.e. sin(tan(x)))? How does a user experience these limits?
4 Scan:
a. Three-dimensional spatial scanning with small laser: manipulations of
bodies, body images, tantric articles. How are bodies changed or perceived
as changed (shelling as example)? How can the tantric object be virtually
'extended' into space?
b. Three dimensional temporal-spatial scanning with large laser: Body
multiples, fluid temporality mapped onto proscenium which interact as
totality, i.e. becomes an object for other bodies, real and virtual. See
Social Aspect below (5 e.).
5 Mocap:
a. Distributed or rearranged sensors (physical reconfiguration of incoming
data).
b. Reworked interface to change mathematical mapping functions from data
to bvh files.
c. General concept of FILTERING as fundamental characteristic of organism,
intelligence, any perceiving or sensing.
i. Bandwidth issues.
ii. Bias issues.
d. Bounded choreographies (limits of sensor tethering).
e. The _social_ aspect of the Virtual Environments Laboratory (VEL) motion
capture equipment: operators, organizers, participants, etc.
6 Second Life:
a. Five month residency in Odyssey, continuous changes almost on a daily
basis. (Thanks to Sugar Seville, Gazia Babeli, Ian Ah.)
b. Thinking of SL as malleable space or 'liquid architecture' - creating
environments impossible and inconceivable in a real physical world.
i. Entanglement and invisible objects.
ii. Mappings of video and audio on invisible objects.
iii. Shadow-objects which coalesce.
iv. Objects playing with womb-like enclosures, continuous particle
generation.
c. Performances from the Biovision Hierarchy (bvh) files from motion
capture equipment, inconceivable/untoward/wayward/contrary gestures and
behaviors.
i. Behavior collision.
ii. Obtrusive or obsructive behavior.
d. Phenomenology of lived body in untoward spaces.
i. Broken or stuttered spaces
ii. Spaces that remap themselves.
d. Spaces of abjection, dis/ease, discomfort.
i. Texture-mapping from 'real' bodies.
ii. Spaces 'veering' the subject.
iii. Spaces driving the subject's bandwidth/CPU to the limit.
iv. Spaces driving the subject's ability to walk/fly hir avatar to the
limit.
Finally, the interoperability, habitus, interdisciplinarity of each of the
above in relation to the others: Constants are dance, body, gesture, code
and codework, filtering.