Archive for 'bio-feedback / cybernetics'
Marcel Duchamp clip from The Shock of the New (1982) The Mechanical Paradise
April 11, 2010 by admin, under artworks, bio-feedback / cybernetics, formal / structural / grids, inter-bodies / half-objects, mirrors / displays / frames, videos.
Here we can see Duchamp’s shift from linear thinking (Nude Descending Staircase) to something more circular (Bride Stripped Bare..), something he would later call “delay”, as Jerrold Segal notes, “suspended in a space it never traverses.”
The clip of course seems to reffer more to these movements in relation to asthetics, psychological and (male) sexual frustration. What is lacking in Robert Hughes analysis lies in relation to a social, political and economical shifts occuring at the time: a shift from a simplified modernist linear progression of technology moving towards a more lateral, circular and rhizomatic technological progression in a lumming post-modern era.
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Dan Graham – Time Delay Room
September 14, 2009 by ric, under artworks, bio-feedback / cybernetics, formal / structural / grids, mirrors / displays / frames, video installations.
Time Delay Room
This closed-circuit installation was varied by Dan Graham six times following the same structural set-up as described below:
«Two rooms of equal size, connected by an opening at one side, under surveillance by two video cameras positioned at the connecting point between the two rooms. The front inside wall of each features two video screens – within the scope of the surveillance cameras. The monitor which the visitor coming out of the other room spies first shows the live behavior of the people in the respective other room. In both rooms, the second screen shows an image of the behavior of the viewers in the respectively other room – but with an eight second delay.
The time-lag of eight seconds is the outer limit of the neurophysiological short-term memory that forms an immediate part of our present perception and affects this «from within». If you see your behavior eight seconds ago presented on a video monitor «from outside» you will probably therefore not recognize the distance in time but tend to identify your current perception and current behavior with the state eight seconds earlier. Since this leads to inconsistent impressions which you then respond to, you get caught up in a feedback loop. You feel trapped in a state of observation, in which your self-observation is subject to some outside visible control. In this manner, you as the viewer experience yourself as part of a social group of observed observers [instead of, as in the traditional view of art, standing arrested in individual contemplation before an auratic object].
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Nicolas Schoffer
May 6, 2009 by ric, under artworks, bio-feedback / cybernetics, public art.
1961 film showing the cybernetic tower (or tour), work by Nicolas Schoffer from 1961, working, showing the random programme and the dynamic-light show. I love the juxtapostion of stillness and motion that the sculpture has, I wonder if it was intentional.
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Self Sustainable Kinetic Cinematography
March 25, 2009 by ric, under artworks, bio-feedback / cybernetics, experimental / technical logs, film / photographic, formal / structural / grids, mirrors / displays / frames, thoughts, video installations.
As the third correction to my project proposal for my MFA major project I finally managed to determine a project research area which satisfies me technically, theoretically as well as professionally.
I often think of spatial structures which coexist both physically as well as virtually. I often imagine what would it be like to experience movement in space when we are withdrawn from the core role of viewer/user. If there is some other element in the system that now possesses that role, what are we in charge of?
Kinetic Cinematography for me consists of the act of filming and recording video by means of intelligent, interactive and mechanical systems.
What I would like to develop is a Kinetic Cinematography which tries its best to rely only on itself both subject and object.
It can hold 1 or multiple cameras and its focus on external subject matter, beyond itself, is irrelevant or at least unimportant.
Here the aim is more on how it is filmed and what angle and direction something is filmed in. I want to focus on the kinetic qualities of cinematography without human intervention. The camera is the performer, the documentor and the spectator all at once. So what does that make us?
The self sufficiency and decision making of angles, shots, movements, starts and stops is determined by the machine itself through kinetic or articifical intelligent means.
This is a key characteristic in describing what really the system is reflecting upon. It has a dynamic gaze on itself which is likely to cause a constantly unresolved anamorphic affect.
The use of computer vision can be used here as a metaphor for vision and instinct itself, as a fundamental part of the decision making process. Vision developed as a response to light to help us creatures explore the space around us and the objects in it. But this still is progressive and by all means uncomplete. We might have reached a final state in the physical evolution of the eye in which its biological progression has reached an halt. This does not mean that our intellectual understanding of vision cannot progress and evolve.
The techincal skills I want to gain from this research are:
mechanics, motors and building kinetic structures
C++, arduino
computer vision using: openCV, maxMSP, processing
Books that have influenced me are:
Zizek, S., The Parallax View
Deleuze, G., Cinema 1 & 2
Deleuze, G., Difference and Repetition
Hansen, M., New Philosophy for New Media
Bergson, H., Creative Evolution
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Fluxus Experiment
December 19, 2008 by ric, under bio-feedback / cybernetics, experimental / technical logs, videos.
here is a quick overlay of some express experiments done using fluxus run through the pureDyne OS.
Fluxus is a live coding enviroment written on PLT scheme. Its a really great tool for live 3D modeling and its the easiest programme I’ve seen to render 3D shapes in code. Its also ridiculously easy to set whatever aspect you want to be affected by sound input, this of course can also be fragmented into bass, pitch, volume, etc…
It was written by Dave Griffiths who gave us at the Goldsmiths Digital Studios an introductory workshop on how to use it. Check out more info on fluxus here