Message-ID: <Pine.NEB.4.64.0807222137060.24437@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: 2 videos/concepts
Date: Tue, 22 Jul 2008 21:38:53 -0400 (EDT)
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.