Projects from the course Breaking the Timeline, a Fachmodul by Max Neupert, Gestaltung medialer Umgebungen Summer Semester 2010:
Kyd Campbell:
concept
I'm interested in exploring time-related breaks between the senses of sight and hearing. I believe there is a sensory gap when one moves in perception between the spaces of micro and macro. In this instance, time and sound are stretched, as the body adjusts to receiving intense macro detail. A journey/passage from one time/space environment to another is an overwhelming experience, a momentary loss of one's self into an aesthetic space, which may be considered cathartic.
In my work I wish to turn this phenomena into a public experience. It is my goal to produce the conditions, in a performance/screening setting for the audience to feel lost in the aesthetic space between micro and macro. I will use HD video images in micro and macro visions and unique techniques for recording motion. In the final work I will move rapidly between different image positions and search to bring and then hold the audience into a hyper-sensory experience.
I will take a minimal approach to sound, reminiscent of breath and focusing on silence to imply motion and change, remaining abstract.
The imagery will be taken from very textured manufactured objects and from nature, outdoors and animals in very high resolution.
process
UPDATE: 20 June.2010
<flashmp3 id="Tape_sounds8.mp3">Tape_sounds8.mp3|parameter=value|...</flashmp3>
I have recorded the numen/foruse team building up a large installation of plastic packing tape in the Tempelhof airport in Berlin, for the Design fair. I am now using this footage (very short clips) and the sound from them. I will create tape sounds myself in front of my computer microphone, with a projection behind. and a PD patch will relate the sounds made to the sounds in small video clips, creating visuals which jump between different clips of my recorded footage of the designers making their tape sculpture. It will be a loud, noisy performance. I used PureData to analyze the volume of sounds from a microphone and call up pre-numbered audio and video files.
<videoflash type=vimeo>12737337|300|230</videoflash>
<videoflash type=vimeo>12737800|300|230</videoflash>
Still
video documentation video on the way
progress
On September 25th I will perform TAPE at TodaysArt festival in Den Haag. I will continue to develop the interface and AV materials until then.
Andreas Beyer: Prosody
the keyword for this projekt is "prosody", that means the science about rhythm, stress and intonation of speech. I'll try to manipulate any given speech with a specific overlay to generate a new meaning or a strange combination of content and meaning e.g. reading the telephonbook like a holy speech and so on. The "overlayed" "structure" is given by the performer and the imput will be live. I want to realize this with a pd patch that i have to write or build till the semester. The background is a theorie that any kind of speech independent from the cultural background could be identified by anybody because of the intonation, the speech, the pitch (political, religious, news, sport, and so on) - this instrument could be used as a "translater" of the cultural melody of the voice or just to play with different meaning. It is the other way around how an anchorman works, he is trying to speak any typ of news in any combination more or less neutral - this is more difficult than it sounds.
Anja Erdmann:
- in this class i will get to work on "Schatten→Klang"
Dominique Wollniok:
Idee
In einem Raum kann man durch Bewegung Geräusche auslösen. Von einem Bild ausgehend, liegen die Geräusche in verschiedenen Ebenen. Durch mehrere Lautsprecher entsteht eine räumliche Klanglandschaft. Der Besucher erfühlt die akustische Umwelt und kann sie durch seine Bewegungen beeinflussen.
Ziel
Ziel ist es eine akustische Topographie einer Landschaft auf ein sich im Raum befindliches Raster zu übertragen. Der Körper des Besuchers ist Auslöser der Geräusche. Inhalt ist das Zusammenspiel von akustischem Raum und dem Körper darin. Durch Reproduktion der Klanglandschaft in detailreiche Einzelgeräusche erlebt man eine Landschaft anders. Es entsteht ein anderer, interaktiver Zugang zur Landschaft.
Ton
Die Soundscape besteht aus der gesamten Geräusche-Umwelt und ihre Einzelheiten. Die Einzelgeräusche sollen so konstruiert werden, dass sie im Kontext zur gesamten Soundscape bestehen bleiben. Die Ton-Ausgabe geschieht über eine 5.1 Anlage.
Tracking
Ausgehend von einem nicht sichtbaren Raster auf dem Boden, werden bestimmte Sounds ausgelöst. Ist man weit vom Bild entfernt, nimmt man die Soundscape als Gesamtes wahr. Je näher man an das Bild herantritt, desto mehr bekommt man den räumlichen Eindruck vom Bild. Man geht sozusagen in das Bild hinein. Einzelne Geräusche werden durch entsprechende Positionen ausgelöst. Das geschieht über ein Tracking in x-y-Ausrichtung. Außerdem soll die Geschwindigkeit getrackt werden. Je langsamer eine Bewegung geschieht, desto länger soll der Übergang von einem Geräusch ins andere sein.
Anstehende Tests:
- Geräusch-Selektion einer Soundscape
- Lautsprecher-Aufstellung
- Foto oder Video der Ausgangslandschaft
- Rasterform (Drei- oder Viereck) für Tracking
Hyun Ju Song: a emotion switcher
- Abstract
Everyone has emotions. Though emotions are easily influenced by the circumstance, who governs emotions is the person himself. - Principle
There are 4 monitors(or digitalframes). Each monitor shows a same person’s expressionless face. In front of monitors 4 interfaces are located and have own emotional expression(joy, sorrow, pleasure, pain). By controlling the interfaces, the emotions of human in monitors are changed.
idea sketch
test - anger
Jeffers Egan:
Theory
Viewing Live AV as a platform for experimentation, my live sets explore the inscription of visual culture in time. By utilizing custom algorithms and animation software and without the use of prerecorded video or still footage, these works result in a hyperreal fluidity of visual mutations, ranging from tightly synchronized passages, to moments of free improvisation. Developing the concepts of digital as organism and software as ecosystem, my sets create a focused, personal aesthetic, finding commonalities in tone, texture and movement between audio and visual elements.
Practice
I have been invited to perform Live Visuals with vidderna, at ROJO/NOVA, a multimedia event this July in São Paulo, Brazil. We will play a 1 hour show together at an event alongside other AV acts.
Technically I am building a visual instrument in Touch Designer, . For the performance with vidderna, I plan to add a HD multi-movie stream compositing system(with alpha), a 3D timeline, and build/consolidate some GLSL shaders into 2D filters I can use in the compositing system.
I will also create new artwork specifically for this performance.
Matthias Breuer: Reconstructing the truth
Two movies dealing about the question of what is real, 'The Matrix' (1999) by the Wachowski brothers and 'World on Wires' (1973, orig. title 'Welt am Draht') by Rainer Werner Fassbinder, are left to the electronic brain of a computer to construct, with its countless circuits instructed by a programmer, a reality partly constructed partly real is build to explore reality and its constructed nature. The outcome is a formal critique of (mass-)media's reality.
Maureen Anderson: Ulysses
James Joyce spent 7 years writing a story that takes place on June 16, 1904, the day he met his future wife. It is the product of his attempt to depict the haphazrdness of thought and action of Leopold Bloom as they occur in their own separate and distinctive versions of "real time" in turn of the 20th century Dublin. Though Ulysses depicts a kind of disorder of what has come to be called "stream of consciousness," a concept of real time as something already broken and fractured for which it can depict in its wholeness by means of depicting its fractured nature, it is one of the most rigorously structured works of modern fiction, but one which does not exist as a finished text.
I worked with speech-to-text dictation software to re-write Joyce's Ulysses. Though current speech-to-text software has achieved a high level of accuracy over the years, interesting mistakes happen in relation to Joyce's text.
Due to problems of censorship in the US and UK, and the publication and dissemination of the text in pieces, an accurate or authentic edition of Ulysses has never existed. It was changed and manipulated by it's first editor, by Joyce's inability to be a faithful transcriber of his own work due to failing eyesight and a writer's inclination to re-write complete sections 3 or 4 times. The first German translator of Ulysses went beyond mere translation or even interpretation when he ended up changing and adding his own material to a text that can be impossible to translate in the first place. I will start by using the 1922 first edition and the academic standard 1962 edition.
James Joyce was very concerned with the spoken and the aural, and their relation to the written form. Joyce is often considered and discussed as having the largest lexicon of any writer known. Ulysses alone consists of 265,000 words and a lexicon of 30,030 words covering a broad range of English, foreign, and invented words and sounds. But it is his attention to the auditory, that might explain such an expansive search through the written form of many languages that drove him to develop such a large vocabulary. It was the open language and way of oral expression of Dublin at the turn of the last century that Joyce attempted to accurately depict: its slang, its grunts, its unfinished sentences. In the development of speech-to-text dictation software at the turn of the 21 century there is an odd Joycean understanding of languages.
One can see Joyce attempting to depict language as something oceanic volume, that can be sliced out in its specificity of time and place while paradoxically in flux. Voice recognition software has been developed to recognize quite a number of individual languages that can be recognized in separate vocabulary databanks or dictionary files like a Joycean lexicon. While serving as a monolithic source of possible words, the vocabulary databank is often dependent on the the specific context of contemporary language of its developer. Like Joyce's writing, it is dependent on the specific time and context for which it was developed. Voice, or accent recognition, furthermore, is broken down by specialization, accent or region including a separate category for "American teen."
While running tests it has often occurred that many words and phrases from Ulysses were matched with those from a contemporary American lexicon:
answered through the calm...answered.com
come up, Kinch...cut low jeans
Buck Mulligan...black militant
Introibo ad altare Dei...NGO well at all that day
and made...MAO (as in Monoamine Oxidase inhibitor)
This seems to reafirm, in a disassociated way, Joyce's account of himself as a "scissors and paste man" of writing and that our words are hardly ever our own.
I have experimented with adding footnotes to words, terms, expressions, proper names and abbreviations that, as far as I am able to know, had not yet entered use in English using internet search engines.
Furthermore, the chapter in which the two main characters finally meet after a night of drinking was dictated while drinking beer and catching up with an old friend who had suddenly showed up while I was in the middle of dictating, while the last chapter, known as "Molly's Soliloquy," consisting of 4 sentences stretching over 80 pages, was fed into the dictation software using text-to-speech software.
Suggestions
--max 17:39, 10 June 2010 (UTC)
There is this reproduction of the first edition by Orchises Press which looks similar [1]. Maybe you can ask them about the typeface, it looks the same as the original. --Matthias.breuer 08:30, 1 July 2010 (UTC)
Natercia Chang: Mutually Intelligible
Background
- I remember the first few meetings and classes when I got here last semester, they were all in German. And without any knowledge in the German language, it sounded like noises to me and I started making up the content when they talked. The initial idea that I came up was to film some of the lectures and edit subtiles on the images, which would be totally unrelated to the acutal content that they were discussing.
- I have been attending lectures and workshops that are held almost entirely in German. To me, sitting in a classroom for more than 6 hours and listening to something not comprehensible at all is kind of a torture. Similarily, I am also interested to find out how would a person feels when he/she is forced to listen to something not in his/her first language.
- The expereince of watching movies here in Germany is pretty hard because most of the movies, they are synchronised with German language instead of screening the original audio version.
Concept
- Select a (or some) German movies and extract some of the scenes and/or shots without the audio
- Select a collection of foreign movies and extract the audio (dialogue) from some of the scenes and/or shots
- Synchronise the extracted images and audio and export it as a short video
- Create a booth that contains monitor and keyboard buttons that one can select languages (no German available) for viewing the video.
(I do not know the technical parts to build a booth with sensory buttons...)