Showing posts with label art technology. Show all posts
Showing posts with label art technology. Show all posts

Tuesday, May 7, 2013

A More Personal and Analog Approach to Computer Art


Those of us who worked to create a new art form(s) with computers have been gratified by some of the progress in the creation of computer generated art. But we must also acknowledge that the process of exploration has been uneven, with some areas going from triumph to triumph, and others lying neglected and underappreciated. Sure, it is easy to be enthusiastic about vast expense paid to create impossibly stupid movies with computers which are sequels to impossibly stupid movies that make a half a billion dollars.   Indeed, how could we not celebrate them as clearly they are the very highest form of art that our society could aspire to. And this is shown in the most sincere way we prove these things: by success at generating commerce. Without commerce, some would say, there is no real art.

It is easy to celebrate a film and a director who publically dismisses as irrelevant the technologists and artists who made his lead character of his film, in this case a tiger. A director who laughs at them in their misery and impoverishment. It is the fate of these so-called digital artists to suffer as they are worthless scum and anyone can be hired off the street and be trained to do their job. In fact governments spend hundreds of millions of dollars to impoverish and destroy their places of employment so that they may have the glamour of computer animation facilities in their own country. That is only natural and correct. (1)

Since we must acknowledge that doing computer animation as it was traditionally performed is a failure in this country, with a few exceptions, it is time I think to reexamine our roots and look at other forms of expression with computers. For example, a friend of mine, Tom Brigham, sent me an interesting youtube video of an unknown artist (unknown to me) doing an art experiment by applying the power of a neon sign transformer to a former LCD television. Thus the artist experiments with the interface between the analog represented by the voltage from the transformer, with the digital, as represented by the cracked LCD display, in unexpected and creative ways.





All potential practitioners of this process are reminded to be very careful with those high voltage logic probes.

Although the final work is not a success, the process demonstrated by the artist clearly has potential and I hope that many will also experiment with creating new art in this way. Of course, I hope they are very careful with the power transformers, and avoid death by electrocution, which would be unpleasant.

LCD TV vs Neon Sign Transformer

Ed Systems on Youtube

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1. Examples of such countries include Canada, the UK, Taiwan, the People's Republic of China and New Zealand.

modified 12/5/2013

Tuesday, September 25, 2012

Music Notation, Prokofiev & Super Mario Paint as an Anti-Depressant


A friend and I were discussing music notations in the context of using one to transcribe a fugue (a fughetta technically) and he pointed me to something called a piano roll notation, called that because of a certain similarity to the original player piano "scripts" which were rolls of paper with holes punched in them.  I find this much easier to understand than traditional music notation.

Here is Beethoven's Great Fugue (op 133) in this notation:
http://www.youtube.com/watch?v=6s0Mp7LFI-k





I am not sure that this notation as seen above has a formal name.  It seems to be a variant on a modern "piano roll" notation but has some additional features as well.

I can not think of music notation without thinking of the brilliant (well at least hilarious) adaptation of Prokofiev's Troika from the Lieutenant Kije Suite as performed on "Super Mario Paint".   And thus obviously Mario Paint has some sort of notation one can use to play music.



Notice the always appealing Mario is the mouse cursor/pointer

The troika as adapted for Mario Paint:
http://www.youtube.com/watch?v=dO1FWlbWQWs

I remember the first time I ever heard this piece in its more authentic form at the beginning of the Woody Allen film Love and Death. I was astounded at how appealing it was the first time I heard it, and every time I heard it thereafter.   The first use in film was the movie Lieutenant Kije, produced in the 1930s in the Soviet Union, this music was written originally by Prokofiev as a score for that film.  Music fasns who look down on soundtracks and their composition as not serious should take note.

Does anyone compose music like this anymore?  I find that this piece in any of its forms works as an amazingly effective, if short term, anti-depressant and it is to recommend this music for that purpose that I wrote this post.

Here is a more traditional version:
http://www.youtube.com/watch?v=5QsRDpsItq0&feature=fvwrel

Music is still a mystery to most Darwinists, there is not a generally accepted theory, so I am told, for why we respond so strongly to it.


Friday, August 24, 2012

Wednesday, July 11, 2012

Carillon Aerobics Instruction and the Salzburg Carillon Control Mechanism

A carillon, as we all know,  is a musical instrument with at least three octaves (diatonic octaves, for those of you who need to know) traditionally made of cast bronze bells.   This is not to be confused, as it often is, with the "chime" which is also a set of bells, but not three octave's worth.   In Los Angeles, for example, we have an inoperative turn of the century chime at Hollywood Forever.

Carillons are huge and expensive to build and maintain.  They are traditionally seen in cathedrals in Europe.  We had one at UCSB and they are a lot of fun to have around.

One plays such a thing, when it is in good working order of course, either by pulling on ropes or metal rods from below to actuate a clapper inside the bell or, more likely, by using something that looks like a modified organ keyboard, where the ropes/rods are connected to levers which are positioned like keys in an organ with a lot of play, maybe as much as a foot or more of action on each key.

Carillons are notoriously difficult to play with any skill and it requires a serious amount of physical effort to operate one of these things for any length of time.   This exercise would provide not only a way to build up the upper body, but it is also a serious aerobics activity which requires one to elevate one's heartbeat to a certain level and maintain it there for a period of time.

If our government was serious about fighting obesity and improving the general health of Americans, and not merely mouthing easy platitudes, then I would expect them to build carillons in thousands if not hundreds of thousands of neighborhoods all over America and provide funding for community aerobics instruction.  A carillon would make a pleasant addition to any local planetarium or community aquarium, for example.

I envisage perky and enthusiastic carillon aerobics instructors in tight spandex leading a troop of health-seeking carillon players on ESPN.   I feel certain that American's would respond to this, and that the show would be very popular and run for years, if not decades.

Not everyone however is as energetic as our hypothetical aerobics carillon player, and the Salzburgers have taken the lazy way out and built an elaborate control mechanism for their carillon, thus automating out of existence generations of native carillon aerobics instructors.

We have three things here:  a picture of the drum which appears to be made out of brass, a video of the control drum being positioned (it looks about two stories tall) to play a tune, and finally the tune itself from the point of view of the bells.

 The drum:



The mechanism:
http://www.youtube.com/watch?v=RUm8TC02lxI&feature=related

 The performance:
http://www.youtube.com/watch?v=X93qkSJvdzQ&feature=relmfu