The printed copies of the catalogue have now arrived.
A set of 14 collages based on based on snippets of text from Philip K. Dick’s 1969 sci-fi novel Ubik. These were created some time ago, but recently photographed and processed through Instagram.
View the full Flickr set here.
In 1974, French filmmaker Jean-Pierre Gorin commissioned Dick to write a screenplay for a Ubik film. Dick completed the screenplay, turning it in within a month, but Gorin never filmed the project. The screenplay was published as Ubik: The Screenplay in 1985. According to the foreword of Ubik: The Screenplay (by Tim Powers, a friend of Dick’s and fellow science fiction writer), Dick had an idea for the film which involved “the film itself appearing to undergo a series of reversions: to black-and-white, then to the awkward jerkiness of very early movies, then to a crookedly jammed frame which proceeds to blacken, bubble and melt away, leaving only the white glare of the projection bulb, which in turn deteriorates to leave the theater in darkness, and might almost leave the moviegoer wondering what sort of dilapidated, antique jalopy he’ll find his car-keys fitting when he goes outside”.
Looking at Living Symphonies by James Bulley and Daniel Jones as possible inspiration for the final Space Rocks musical piece.
Reading Science Fiction for Prototyping: Designing the Future with Science Fiction by Brian David Johnson, researching how to create a narrative around the final Space Rock objects.
And finally got hold of a copy of Active Matter. Currently watching the intro page move as the sun tries to peep out from behind clouds.
Got me thinking about the material of the Space Rock objects, and also reminded me of the Massive Attack heat-sensitive packaging.
VRLO, Wed, 25 Apr 2018. Surprisingly small space, and only a few demos there. Still struggling with the VR issue that only one person can share the experience at a time, because each person needs the (expensive) headset. However, really (vicariously) enjoyed the CAD in VR demo from Gravity Sketch. Almost worth getting aheadset for, to draw 3D models in a virtual 3D space.
Discovered the artist Amulets this week. He works with cassettes, players, tape loops and effects , creating woozy soundscapes and atmospheres from these simple sources. Of particular interest is the physical aspect of what he does, manipulating the sounds and machines in real time.
Also reading The Oxford Handbook of Interactive Audio, with a view to developing a more theoretical approach to the sound that will be part of my final installation.
Currently experimenting with combining simple tones to make chords / walls of sound, using this for reference: Frequencies for equal-tempered scale, A4 = 440 Hz
Also read this piece recently on FACT – The Sound of Fear, which mentioned the Ghost Tape Number 10, which was unpacked in this podcast a while ago. An interesting example of using sound to play on people’s cultural preconceptions.
During the Vietnam conflict, US troops played a soundtrack known as Ghost Tape Number 10 against the soldiers of the National Liberation Front. Used as part of Operation Wandering Soul, the unsettling tape collage tapped into Vietnamese beliefs that ancestors not buried in their homeland roam without rest in the afterlife. This spooky mix of voice, sound and music was intended to haunt Vietnamese soldiers and encourage them to abandon their cause.
Quite intrigued by this visualisation of sound in space via AR. Discovered this while reading about the Weird Type AR app.
I have also been investigating a few options for networking and interacting with the objects that will be the 3D models in the installation.
One is X BEE – apparently “the Digi XBee3 Series offers design freedom with easy-to-add functionality and flexible wireless connectivity.”
Another is the Google’s Project SOLI, a sensor which recognises hand gestures.
And finally, a MIDI controller ring, The Wave, as featured on TechCrunch.
Sadly the last two will not be available for a few months yet.
A playlist of audio experiments for the installation piece ‘What Goes Around’, using the narratives and spoken word generated from my recent workshop.
Second text created using Markov chain text generation. Again, the text is in the order it was generated, although some slight edits have been made to give the text a bit more flow and ‘sense’.
was being much like those back home.
but maybe we’re not quiet.
shows not only family.
quite done with wandering after all.
Being from and surprises the edges.
in honour of the sounds of the object.
sparsely, tendency, finally around the screen.
much less of the object.
Under closely, which finally that.
the artist’s ranch.
When they all listen.
the council would change us all.
the moon landings.
and the small life deciphering the stars.
come riding horses.
the contact with wandering travel.
object is so near as macro.
would do the pictures from the lens.
heard the same from.
As he once again see scans them.
occasionally the Earth.
she notices that finally.
mission for survival.
Before static, waiting the home rest.
time has passed.
much; it was, but they weren’t enough the map.
some time to listen is.
a sort of us.
They played from memory and the edges.
and the bother means came naturally, tenderly.
and sounding like spider legs.
the rider closely.
communicating against the stars.
scanning their artists travel.
he came named.
The following text is the result of inputting the three stories generated during my Narrative Workshop into a PHP-based Markov chain text generator. The text is in the order it was generated, although some slight edits have been made to give the text a bit more flow and ‘sense’. This will eventually be narrated as audio for further manipulation and configuration.
Some sound bring around
Take in the ride towards home, as far as to give life here,
As far as to the city the signals.
A densely, tender
standing to receiver
he once again considers the photos of the mission
but not so much less of the soundings.
But all room repeat
a small room repeatedly.
For this receiver,
when they found the way
an aerial view of flickering again.
He had been searchings
like spider legs.
Being much less of a concert
have gathered our own
she again consider legs.
Out in the airport, sparsely,
as he turned the wall to her
She heard the airported back down (she is supposing).
They wondered with the context
At first, she personifies the micro as macro.
The leaf. The people stopped,
He often is.
There with wandered densely
figure will be a fanfare.
The grainy capsule.
The way an aerial view of flight.
She context of the music.
Many other means
when this desert.
He had it.
Maybe was time to static, more static,
beamed to be late.
All life here, as only
that’s what she is supposing.
They all smile
interpreting the moon landing
off to receive sound
beautiful, and in,
black at his side was a flickering
against the flesh to give little,
he heard the evening beamed
The quartet playing off to give life.
wondensation was a pretty good idea
for similar kind,
his cue to the airport,
spreading on the static,
was a special view of his side of time
has a tenderly.
The crackling voices being horse,
stopped, life into this desert,
a lonely at this horse,
squinting the sound.
Occasionally the photos
of perfect strangers also came naturally,
white simple, accordings.
But it took some time
to the micro as macro.
The looks closely, tenderly.
The crackling voices beautiful,
Occasionally led to the space
complex understanding wasn’t enough,
At his cue
to catch in roughly
an odd practice,
on the way an aerial view
of flight before then.
bouncing like spirit
behind the evening before
thinks, she occupies
the sounding was going.
Just had receiver,
more food, some sense.
The cello and scattered notes.
With safety being
signal would complete.
He had been searching
life into new
the lens near
played from memory and the sounding
like another place, announcing.
This text was written as part of a workshop based on a series of five randomly-selected images that were originally sent into space as part of the Voyager Golden Record in 1977.
The Quartet. 19/03/2018
Families gathered outside in the street. At the gate. Stopping for a while to take in the music. Many others also came to listen. Standing still. They wondered at the sound. They too had seen the moon landings. But it took some time to connect the sounds of the instruments to the pictures from the night before. The grainy capsule. The crackling voices beamed down, announcing the moment that would change us all. Or at least most of us.
Out in the Desert, a lonely figure wandered with this horse, scanning the horizon for signs of life. At his side was a small listening device. A radio, tuned to static, waiting to receive some sound. Occasionally the rider stops, tunes, looking for signals. As he tunes, he once again see scans the horizon. Once or twice he looks back at his trail. Where he came from. As he had little idea where he was going. Just had to find the end to this desert. He rode, stopped, tuned, rode again. He had food and water for a few days more.
On 19th March I conducted a 3 hour workshop with my fellow Interactive Digital Media colleagues to explore ideas of narrative for What Goes Around.
To kick off the session, each participant told a story about and item they had brought to the workshop that had a personal significance.
The object I chose was the FM3 Buddah Machine purchased at Sonar Festival a few years back.
Kat chose a piece of jewellery given to her by her ex and that belonged to his mother.
Next, we each chose five random images from print outs of photographs originally sent into space on the Voyager probe in 1977. The task was to write a story based on the sequence of five images.
Richard’s story, based on these images:
(The text of this story can be read here.)
KP’s story, based on these images:
As you can hear above, each of us read out our stories.
The final task was to combine the two each of the images originally chosen with two new images each, totaling 12 images. These were then arranged collaboratively into another story, as you can see in the following images.