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Visceral Systems

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Automatisierte Medienanalyse

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Erkannte Entitäten
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and the end of a and write it so it today for you and in this of all in the early morning will be you something that's will make you feel of things about the things that are not so in the and the three-dimensional 6 dimensional space that you see you or that you can touch but stone uh our 1st speaker today will tell you about uh how to evoke emotions uh with uh or to kind of sculpture aren't from things that are common maybe not not nothing more than than there are lots and that will nevertheless touch you so the 1st talk today it's called visceral systems approaches to working with sound and the were brought transmissions as a sculptural medium and or talking to the 1st of those those are unskilled want of false false or half and thank you the so it the say at the morning thank you for the introduction thank you for having me here CCC I'm really excited to give this talk actually it's and they're thinking about for a long time and I'm I'm happy to to presented to you this morning and also think you for coming here I know that at that 11 30 squarely early for a morning add as he sees he's so the Syria and
my name is sarah grants on me I'm a media artist and an educator on the part of devices even studio i in in Berlin and and I'm interested in systems radio waves computer networks and also sculpture and I have an arts practice with networking technology as my medium and also teaching practice that works to promote Internet literacy and cracking open this black box that we know of as the cloud and bringing awareness that there are alternatives to commercial providers if you want example simply Xhosa on website or run around genus ahead table to the network and am I think it's a violent portends to have a basic understanding of how the Internet works so that we ourselves can be creators and not just passive consumers of the Internet and not only that so where equipped to be critical of it because it's you can't really be critical something and if you don't know how works so you don't know what's behind good and then side the so actually to have way I also
organize a conference called right networks in Brooklyn New York with my colleague Erika Kirmani it's a 40 event that has talks workshops and am an exhibition featuring critical investigations and applications of Internet and radio technology so the spirit of the event is to give beginners and the community is safe space to come learn about and discuss issues such as surveillance the ownership of personal data and to and dismantle this opaque notion of the cloud but today
I wanna talk about something pretty abstract and something that I've spent a long time to figure out that actually feeling of Beverly recently started publicly talking about and this idea of this rule systems as applied to sound composition and to peer networks and and to sort of impact that I want to do within the following framework of 1st giving a bit of my background past influences and also therefore sp?aty my my relationship to sound and Networking technology and the 1st I need to be the offer some definitions just lay the groundwork with the cardiac that I'm going to be bending these definitions quite a bit
the so the 1st is added this term visceral an from medicine that vis-à-vis role the referring to the viscera at the internal organs of the body specifically those within the chest as the heart lungs where the abdomen as the liver pancreas intestines in a figurative sense something visceral is felt deep down to gut feeling and
then this idea of view that the definition of what a system is from from Oxford as a set of things working from Oxford dictionary a set of things working together as parts of the mechanism on interconnecting network a complex whole so while this rule system and usually refers to the system of the body I'm betting that turned to me a system which evokes a visceral feeling feelings of textures colors dimension mass on to both sound compositions and communication systems to systems that I a I actually did intentionally you know choose to that new to work with the narrative stories concerts for more I just noticed I felt these things in relation to the system so they kind of shows me on so to explain maybe I got here I want to back up about 30 years and 1 of the
defining influences in my life and if you have any of you recognize these icons I was discovering to solve for applications and the 1 on the left the former is the icon for residents or resource editor and 1 on the right is HyperCard when I was about 10 years old on my parents that classic and the
president is that's the
resident is an application that was used to create and edit application resources like icon bit maps out the shapes of windows the definitions of men using the contents and the application code and the 1st time in the right has computer was often let's essentially on on the Mac was me dragging things around the desktop and seeing which would have no light up over different applications and then drop in and see what would happen and fortunately for them when these applications was residents and and add which led to many so uh system crashes but anyway the 1st time I was a lot over a piece of software with residents and want to disassemble into a collection of icons and and hex codes the as whatever is the sounds made actually a major impression on me as as a child the I mean that is the best code made no sense to me what I saw the necessary me at all i'd no idea how to pass stumbled into and sociology rationally is a computer program my child's mind connected to it as visually this really even on in instead of software I noticed that the texture of the bottle I characters and I noticed the lines and then the shapes uh that came forward out of them out of the code and so but you know what I do know what this actually was I knew enough I knew that it was controlling 0 what was having a front in the interface and and I felt a huge excitement on scene the guts that you've seen the organs of what I you know of an application of what I believe is previously perceived as a black box that I was only allowed to take at face value and this sort of game is back door into this system which is really exciting the the this
is a a slide and of the monitor 2000 card from the beyond cyberpunk Hypercard stack a compendium of cyberpunk sci-fi In guide cyberculture command 1980 so yeah I have required and is application that lets you create stacks of so-called cards containing text and interactive images buttons text fields other gooey elements on it's considered 1 of the 1st successful hypermedia systems before the web and was therefore precursor to the web and had actually a direct influence on how the 1st browser was developed I yes also because of of how it it allows you to create these nonlinear narratives jumping between cards attacks and interactive content and you know with the introduction of hypermedia really and I you know being able to move in this nonlinear way for you know really creates a feeling of traversing space and in this case document space and a really added a dimensionality to a was otherwise a very flat landscape in digital media on so interacting with software these ways view these programs really started to give digital media shape in a form in my mind is something more than you just look at on the screen and you know as a set of things and but is something that you know that had guts had dimension that had a physical law Physikalische properties and it really established the synesthetic relationship that I would continue to have with media and so it's not about sound
for a minute a great huge inspiration for me is Edgar the very of errors and his idea of sound objects that found occupies the spaces form and with mass the for as was a French-born composer and spend a lot time of Paris and in the state M. working in the 1st half of of the 20th century and and he's known for conceiving of music as quote sound living matter armed with the elements in his music is found masses organizers crystalline structures so he you know as well had this this relationship the summer was into something that he heard but is something is something that had weight you know that I had this row properties about it and the he
has this quote that while this is not book but it's this quote is when I was about 20 I came across a definition music that seemed suddenly to throw light on my gropings towards music I sensed could exist and Mary of a good overall sky the Polish physicists and chemists music colleges of loss for the 1st half of the 19th century define music as this as the core part corporeal portalization a the intelligence that is in sounds so giving giving body to the life sentence sounds the it was a new and exciting conception and and to me this is still there speaking and to me the 1st that started me thinking of music is spatial as moving bodies the sound space a conception I gradually made my own so the having learned about
him about all this stuff and getting really excited that I came across someone else who had this this relationship to this normally intangible stuff really encouraged me as to to develop on this project called felt the signal processing orifice the for short and something I worked on for a number of years actually with my sister Larry Grant he continues to work as a wearable electronics and textile designers services go and so together we developed conductive soft interfaces out of regular wall and metal walls combining them together to to work as components in Qatar in the terminals since and home-grown sound circuits and
yeah here's a a picture her her I so my goal whatever's the with the take something off the head of a stroke cut a connection to sound and try to create an emotional connection to it through an interface that I thought was closer to the texture of the sounds as I experienced them then the hard discrete knobs sliders and buttons so in this image it's it's them well it's a she wall containing and and effects metal that I built and so on and there's these these filtered components that are integrated into the circuit via near the
steps that aII attached I mean I brought their thirties grommets will steps eyebrow loaded into this conductive felt that I made and and it becomes a variable a resistor
considered back up lips that
so there there there's a wire that snake through through the raw material it is filtered out then I attach
the out the and then I have something that I can sorta wire to insider directly into the into the circuit and into the that PCB the effects pedal so it becomes part of the circuit that the signals is traveling through this felt and as you manipulator with your hands you're changing the resistance of it which is the same as turning a knob or slider on your shaping your actually shaping the sound with their hands and uh and yeah we we made
several strange things on this perhaps was the beginnings of a strange synthesizer that this is the interface for it with firms always intestine like tentacles each of which the and had a core of of conductive wool and
terminated in a snap on on 1 hand and would connects and it's a shot of the
of the of the connective will down the center of it but the snaps would then connects
to the other piece I and created you know a a connection in the circuits the and then as you pulled then there that the anatomical again it it was creating this this stretching action which is changing the the resistance shaping some of that was limited so annuities they did was
call house a phantom and I did coverage with a very good friend of mine and some designer Helen Tang and it was an
on-site installation consisting of multiple as replies of broadcasting unique soundscape over shared FM channel and which is set to 90 . 1 FM so be it was broadcasting the opposite in all of the pie in and the all on the same file frequency 6 of these devices throughout the house and as pistons move that the house wren FM radio and enable headphones the audible signal from each Pi With fade in and out as a move towards away from stations so In this case I was experimenting more with dimensionality you know with by creating these sounds spaces and it was also in an experimenter in full color and texture the out of the corners of the house out the feeling of the feelings of the corners of the house in which the piece was installed giving a voice in a body teach these areas as expressed in the sounds designed by Holland the
so am earlier I say to my goal was to take something that I had a visceral connection to sound and try to create an emotional connection to through an interface that I thought was closer to the texture of sound as I experienced them myself but this goal as well stands to my to computer networks and they have a visceral relationship to music and Todd is more or less understandable and I think of a lot people do but having 1 ticket to peer networks is a little less obvious and it's something that I you know I haven't really struggling to sort of defining like for myself what that means on that for a reason why I'm I'm compelled to situate networking the concept of sculpture to design tactile net network systems and 2 reference verb for the and but to consider networks or the signals moving over the networks as living matter but I need a framework to help guide my experience and expressions and I think
that framework why am had with the now this is really an ongoing research project is this modified version of Harold laws wells the model of communication as a template for my thinking going forward as i as well to quote 4 as I grow my way towards the sculpture sense could exist so according to level phrases designed to describe an active of communication it asks who says what it in which channel to whom and with what effect so in the context of sculpture pool or odd the who and to whom straightforward to answer these are the artist and audience and which channel refers to the medium as it felt is slime mold is it's meant a paper you know what is the physical medium that we that we that will be used to link the intangible to something that can be physically and engage with % so mn says what I mean this is the message that the artist is trying to in part from the peace to me personally so far in my experience the white is willing to give the intangible a physical presence occurred real world Avatara something that can be engaged with and finally with what effect this is this is the feedback from the audience this is how does it affect the people who you know the who you know who were looking at this and experiencing this how will make the viewer feel so for me I I hope it will part again and a sense of awareness you know about that that that that that the sounds that these data transmissions that they they exist in this in this space that were in the but that they have a form even if we can't see it the so I am I wanted to just show few with terrorism and dealing with with some of the networking stuff and when the 1st ones involves a slime mold called physarum polycephalum
it's a single cell me that I've slash fungus like creature says about in 2010 has been the focus of interesting research says taken note of the fact that for being such a simple creature it tends to display complex and indeed sophisticated behavior that has been used to model various systems from transportation networks have blood vessels form is also particularly noted for its ability to quickly find the most efficient path between the source is creating efficient transport interconnections networks for fairing nutrients from in this photo Baeza of flakes which is 1 of their favorite foods is basically a de-centralized adaptable network that is able to change a response to a changing environment and you can clearly see here even how it is that it starts to take the shape of a of as they compute our core as as the Internet and In this particular experiment have I was actually and seeing if I could find a way to color code an data if you will that moves through the plasma sodium network so that the so and as a slime mold and just food it breaks it down and then streams through these tubes In an and move this title fashion removes forward and comes back a bit and forward and back a bit and this is how it moves actually so I want to see like a create color coded tags you know like the trace trace something a piece of food moving through the network by color and hoping that ignited somehow create like a aid the data network I'm for data packets that moving through this slime mold and and and and know where it had been based on the color that it was because so in this picture different notes I a you you see yellow red and blue I use primary colors to diadodes hoping that as they ingested notes it break it down as as different as in different parts of the pth mixed there it would also be a comics today I could see all this over here it's green so I guess you know this this pass through the the blue and yellow node anyway and I said highly secure metal elements still something that I'm working on perfecting I haven't quite idea and the willing to talk about
real fast rescue them stands for q their family it's a collection of Evan tranceivers embedding cast cement cubes work done in collaboration with my partner Don was
he lived and together they form a network of many radio devices for modeling network topologies I'm a travel paths of data from 1 device to each other so to this is a single 1 but they're design Takc? work as a group and it is sending on a simple and Morse code signal and and and year once and the pulse and whoever would whichever once nearby year the poles pick it up and blink an LED to show that they've received that and it's really super super simple way to show data propagation through a network and this is actually designed as well to to be used as a teaching tool which is something that me and also done you do quite a lot is teach workshops to help explain how they're going to build you works so the but is also weights you to sort of see and appreciate how information travels through space again giving the sense of dimensionality 2 things in and out that we can see was in the air and around us it's still there you know and were situated in it so I I
mean some of I know super attract even for me an element in a series of why know lately what people places you know and you know 1 of the greatest challenges of working with networks as an artistic medium or using networks as material he's a phrase coined by me steely Chile all over is the fact that appear in arts are inherently tactile you can't see them taste them Rossella were feel and so how do you create works that engage in an audience at a computer networks and if they can experience it with their senses does a present fully really appreciate was happening over a computer now work if the can't experience it with their senses and and you know I think there are changing our relationship to something that is usually considered purely a utility you know working as a very tilt steering being it's about moving messages over from point a to point B but but it is interesting to look at how all us never thing can manifest itself in other contexts like in the case of slime molds and you know where can parallels the found and is a meaning to that and and by giving something that's a tangible form would make us think about more or think about more like what happens over those visible tubes and so the idea you know the thoughts as here are like a server theory experiment on open to discussion and this is evoked any thoughts or questions In in you I would love to hear what you had to say thank you thank
you thank you sorrowfully talk of mean we have to for some questions so we of 0 former performs some 1 2 3 and 4 so if you have any questions you can just walk up to the a microphone and ask a question the or in the meantime if we don't have an equation from me and and so 1st question microphone 1 by the way I think you for the talk interesting and can we use all of those sounds that you made with pedals you have well you know I actually did I do have a video I a while I don't know we have time for me I have to like dig it up maybe you can find me after is in they feel more refer people came up the survivor defined so in the
mean time maybe there's 1 question from the internet the question is regarding the rule-based FX Palo uh have performed live on stage and so it doesn't work like a musical instrument and yeah actually I will have you know I never performed alive on on stage II it has to happen but I was performed to myself in my bedroom and amend yet I mean I I use it actually to process my voice so and so there you know there's microphone I was singing into it and run it through the the effects pedal and you know what people saying you you know it's a full body thing sometimes it's like you're using your your movie with her body your your hands and and and it felt really nice to have this like this felt this like this this they warm and comforting fell in my hand that I was as I was seen as well shady my voice almost as the where an accordion the forcing the documentation that would provide yeah it's make yeah yeah little break to to to to let you to lectures such from you you can yeah searching to my sisters Vimeo where as her we had the sentiment but you know this is actually from from some time ago so the features and look at in that is the I can find it in time then by all means confining afterwards can only thing that fine and facts and actually if you wanted to add the significance
we actually do you have and an archive of our work here at could uh . com slash he wondered if you're curious to see what some of the projects were that we did and this is also have audio deceased human well let's see it displays and and if not then you can check it out now it is complete actually felt which is not in here thank and I think what we might be out of luck while if you wanna listen actually you can you can visit this this web page here and we do have some figures OK I think uh you can't you see the address of the analysis it's also on on the topic of sites on the on the on the problem so you can listen to them so there's 1 question at my from 1 we we had suffered some little just this this is a noise it's the and it was the In this instance the uh and send this so the so again the question yes short question how hard is it to be some parties that in the modern world when we're almost visual media uh audience will see when you're on talks various for sure some projector and your but something there's problems found us we so now and so when people grossing Internet looks for pictures and so how it looks like from your perspective is easy to reach obviously found products will have and say to those found in that I I included in this talk because it's it's is relevant to this idea of Israel's systems but I'm at the time uh I have to work to a some myself for a number of years have focused Amelia never came back and they I mean it was a Michael like they want to reach it's online for example land Oregon in fusion scientists sometimes you have hot foreign perfect conditions for absolutely will also won the benefits about this is that this isn't rely on high fidelity is actually about noise in some way it's about interference so actually that was never an issue but yeah became variants so unfortunately it comes up for this also offense against our formula so thank you very much and what we have thank you was
that and and and it it took the the it but back at top
Kartesische Abgeschlossenheit
Systemprogrammierung
Datentransfer
Dimensionsanalyse
Physikalisches System
Internetworking
Web Site
Datennetz
Blackbox
Wellenlehre
Kryptologie
Güte der Anpassung
Kartesische Koordinaten
Physikalisches System
Kontextbezogenes System
Ereignishorizont
Raum-Zeit
Service provider
Internetworking
Hypermedia
Mereologie
Äußere Algebra eines Moduls
Streuungsdiagramm
Neuronales Netz
Tabelle <Informatik>
Systemprogrammierung
Bit
Große Vereinheitlichung
Selbst organisierendes System
Schlussregel
Physikalisches System
Term
Figurierte Zahl
Quick-Sort
Framework <Informatik>
Kraftfahrzeugmechatroniker
Mereologie
Sichtenkonzept
Datennetz
Kommunikationssystem
Hausdorff-Dimension
Relativitätstheorie
Klassische Physik
Ruhmasse
Kartesische Koordinaten
Schlussregel
Physikalisches System
Bildschirmsymbol
Mechanismus-Design-Theorie
Data Dictionary
Texteditor
Textur-Mapping
Menge
Komplex <Algebra>
Rechter Winkel
Datennetz
Mereologie
Kantenfärbung
Bit
Große Vereinheitlichung
Selbst organisierendes System
Blackbox
Systemzusammenbruch
Kartesische Koordinaten
Code
Demoszene <Programmierung>
Textur-Mapping
Software
Spieltheorie
Bildschirmfenster
Inhalt <Mathematik>
Optimierung
Gerade
Shape <Informatik>
Sechsecknetz
Physikalisches System
Bildschirmsymbol
Sichtenkonzept
Quick-Sort
Mapping <Computergraphik>
Soft Computing
Rechter Winkel
Ruhmasse
Codierung
Gewicht <Mathematik>
Große Vereinheitlichung
Kreisfläche
Selbst organisierendes System
Hausdorff-Dimension
Browser
Interaktives Fernsehen
Keller <Informatik>
Kartesische Koordinaten
Element <Mathematik>
Gesetz <Physik>
Raum-Zeit
Datensatz
Benutzerbeteiligung
Bildschirmmaske
Software
Gruppe <Mathematik>
Elektronischer Programmführer
Inhalt <Mathematik>
Optimierung
Erweiterte Realität <Informatik>
Bildgebendes Verfahren
Touchscreen
Shape <Informatik>
Krümmung
Kategorie <Mathematik>
Ruhmasse
Physikalisches System
Chipkarte
Objekt <Kategorie>
Neue Medien
Datenfeld
Menge
Hypermedia
Fehlermeldung
Aggregatzustand
Videospiel
Telekommunikation
Einfügungsdämpfung
Analoge Signalverarbeitung
Physiker
Signalverarbeitung
sinc-Funktion
Zahlenbereich
Raum-Zeit
Dienst <Informatik>
Regulärer Graph
Portal <Internet>
Komponente <Software>
Gruppe <Mathematik>
Mereologie
Digitaltechnik
Radikal <Mathematik>
Projektive Ebene
Speicherabzug
Wärmeleitfähigkeit
NP-hartes Problem
Einfach zusammenhängender Raum
Soundverarbeitung
Textur-Mapping
Komponente <Software>
Diskrete Gruppe
Bildgebendes Verfahren
Schnittstelle
Schreib-Lese-Kopf
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Digitaltechnik
Mereologie
Lipschitz-Bedingung
Speicherabzug
Wärmeleitfähigkeit
Schnittstelle
Einfach zusammenhängender Raum
Gruppenoperation
Digitaltechnik
Textur-Mapping
Flächeninhalt
Arbeitsplatzcomputer
Güte der Anpassung
Systemaufruf
Kantenfärbung
Elektronische Publikation
Frequenz
Raum-Zeit
Data Mining
Soundverarbeitung
Einfach zusammenhängender Raum
Telekommunikation
Rückkopplung
Gewicht <Mathematik>
Datennetz
Template
Versionsverwaltung
Datentransfer
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Physikalisches System
Kontextbezogenes System
Gesetz <Physik>
Raum-Zeit
Viewer
Framework <Informatik>
Quick-Sort
Eins
Textur-Mapping
Bildschirmmaske
Arithmetischer Ausdruck
Reelle Zahl
Gruppe <Mathematik>
Mereologie
Projektive Ebene
Modelltheorie
Message-Passing
Schnittstelle
Neuronales Netz
Subtraktion
Bit
Shape <Informatik>
Datennetz
Röhrenfläche
Computersicherheit
Familie <Mathematik>
Zellularer Automat
Physikalisches System
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Transportproblem
Fokalpunkt
Auswahlverfahren
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Kollaboration <Informatik>
Knotenmenge
Bildschirmmaske
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Mereologie
Endogene Variable
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Modelltheorie
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Neuronales Netz
Punkt
Gewicht <Mathematik>
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Ausbreitungsfunktion
Reihe
Softwarewerkzeug
Gruppenkeim
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Physikalische Theorie
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Code
Arithmetisches Mittel
Netzwerktopologie
Polstelle
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Soft Computing
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Server
Modelltheorie
Information
Message-Passing
Neuronales Netz
Arithmetisches Mittel
Logische Programmierung
Radikal <Mathematik>
Kontrollstruktur
Gleichungssystem
Neuronales Netz
Internetworking
Videokonferenz
Web Site
Adressraum
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Geräusch
Zahlenbereich
Web-Seite
Internetworking
Hypermedia
Systemprogrammierung
Medianwert
Perspektive
COM
Figurierte Zahl
Beamer
Analysis
Gammafunktion
Physikalisches System
Biprodukt
Packprogramm
MRAM
Konditionszahl
Hypermedia
Projektive Ebene
Cloud Computing
Instantiierung

Metadaten

Formale Metadaten

Titel Visceral Systems
Untertitel Approaches to working with sound and network data transmissions as a sculptural medium.
Serientitel 34th Chaos Communication Congress
Autor Grant, Sarah
Lizenz CC-Namensnennung 4.0 International:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/34922
Herausgeber Chaos Computer Club e.V.
Erscheinungsjahr 2017
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract This talk considers the visceral relationship one can have towards intangible media, notably sound and network data transmissions. Sarah presents a selection of her work demonstrating these synesthetic relationships, ranging from experiments in bio and fiber arts to interface design and educational tools for demystifying computer networking technology.
Schlagwörter Art & Culture

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