ARTBASE (1)
BIO
Michael Szpakowski is an artist, composer, writer and educator.
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
RE: R: RHIZOME_RAW: Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by Patrick Lichty
thanks Patrick! - very clear! - personally I think it
might be nice to have different "flavours", but I
entirely see your reasoning behind the current
set-up..
michael
--- patrick lichty <voyd@voyd.com> wrote:
> Thanks for the discussion, everyone...
> It's getting close to end of semester, and I'm a
> little ebaked, so I'll
> be pretty brief.
>
> (1)Is there some software that automates pixel by
> pixel or small chunk by small chunk colour analysis
> of
> the images, or did you have to do it by hand with
> the
> eye dropper thing ( forgive me if there *is* &
> everyone but me knows it!)
>
> I could, but I got started with some of the images
> with Don Relyea's
> Reductionizer software, now mentioned on the page.
> The thing is that it
> doesn't give you centering, background color, and
> the files are too
> large to deal with any WYSIWYG editor, so I have to
> reformat them in
> Notepad.
>
> (2) Why a width of 5 or 3 and not single pixels
> -does
> the html page become impossibly big at 1?
>
> Not really - the images get small. What you see is
> the original
> resolution of many of the files. Many of them are
> wristcams (120x120).
> So, I wanted them to be larger.
>
> (3) Why is the refresh rate on the movies set so
> long?
> --10 secs, I think--was it trial and error to do
> with
> load time? I longed for pseudo cinematic motion,
> [which can, in fact, be achieved by the viewer, once
> the images have cycled through once, by using the
> browser forward & back buttons]
>
> OK, here's where it gets complex.
>
> I was looking for a negotiation between 'browser
> time' and "gallery
> time'.
> What I mean by this is that installation (gallery)
> time is something
> that privileges slower changes (read: Viola/Aitken).
> Browser time is
> much faster as it refers to near-straight download
> time for the
> unfolding of a work.
>
> The BIG problem here is that If I adhered to browser
> time, I would not
> be able to load the images quickly enough on slower
> bandwidth to
> accommodate for the refresh statement. Therefore,
> the morphology of the
> piece is also dependent on the bandwidth of the
> user.
>
> In addition, the piece is designed for gallery
> installation as well as
> browser viewing. For example, loops of the digital
> shadow puppets would
> allow for gallery goers to have a sip of their
> chardonnay and see a
> change after a minute of chat. Gallery time is a
> much more 'Lush' time
> than that of the browser, and ten seconds seemed
> like a good
> negotiation.
>
> Would it be appropriate to post a "5 second flavour"
> and a "1 Second
> Flavour" (playfully referring to denotation of
> variation within Eastern
> Media?")
>
>
> Patrick Lichty
> - Interactive Arts & Media
> Columbia College, Chicago
> - Editor-In-Chief
> Intelligent Agent Magazine
> http://www.intelligentagent.com
> 225 288 5813
> voyd@voyd.com
>
> "It is better to die on your feet
> than to live on your knees."
>
>
> I realy like this work by Patrick.
> It is elegant in the extreme - it appeals to our
> appreciation & understanding of his technical skill
> &
> of his own sense of where he lies in an ongoing
> tradition ( both of his and others' making -he is
> truly the *Prince of the Pixel*), but the end result
> is also somehow touching (not in a weak sentimental
> sense, but in the sense of reaching us emotionally
> in
> a complex way). So complex stuff to chew on but to
> an
> affective end...enough to make an excellent start in
> my book..
> I would like to ask three questions of Patrick:
> (1)Is there some software that automates pixel by
> pixel or small chunk by small chunk colour analysis
> of
> the images, or did you have to do it by hand with
> the
> eye dropper thing ( forgive me if there *is* &
> everyone but me knows it!)
> (2) Why a width of 5 or 3 and not single pixels
> -does
> the html page become impossibly big at 1?
> (3) Why is the refresh rate on the movies set so
> long?
> --10 secs, I think--was it trial and error to do
> with
> load time? I longed for pseudo cinematic motion,
> [which can, in fact, be achieved by the viewer, once
> the images have cycled through once, by using the
> browser forward & back buttons]
> best
> michael
>
> --- salvatore.iaconesi@fastwebnet.it wrote:
>
> > i know i don't have all the "titles" and that it
> > might sound a foolish
> > question:
> >
> > but haven't loads of folks been doing this stuff?
> >
> > even i've been doing this stuff, and i'm the
> > laaaaaast little meaningless one
> > of a crowd...
> >
> > yes, yes, i know, you/we all grab stuff and attach
> > meanings to it. we all do.
> > and blablabla...
> >
> > but isn't there something more interesting to
> > "Spotlight"? :)
> >
> > this is meant to be a constructive criticism.
> >
> >
> > >----Messaggio originale----
> > >Dal: turbulence@turbulence.org
> > >Data: 17/11/2006 23.59
> > >A: "Jo-Anne Green"<jo@turbulence.org>
> > >Ogg: RHIZOME_RAW: Turbulence Spotlight:
> > "Tabula Visum: Tabular Vision
> > & HTML Cinema" by Patrick Lichty
> > >
> > >November 17, 2006
> > >Turbulence Spotlight: "Tabula Visum: Tabular
> Vision
> > & HTML Cinema" by
> > >Patrick Lichty
> > >http://turbulence.org/spotlight/lichty
> > >
> > >Both static and dynamic digital images have often
> > been represented as
> > >'translated' images, reinterpreted from an
> > intermediate image file stored on
> > >the web. Beginning with these files, Lichty has
> > translated the images and
> > >videos to pure HTML code. As such, they represent
> a
> > very 'direct' method of
> > >representation in the browser. In addition, there
> > is a time-based element
> > >that occurs when the tables load into the
> browser.
> > Thus, "HTML Cinema" has
> > >two dimensions; the time of the load, and the
> time
> > of the serial.
> > >
> > >Many of these images are excerpts from Lichty's
> > wristcam photography and
> > >video works. After conversion to pure code,
> several
> > of the pages were
> > >unmanageable; therefore, they are a hybrid of
> code
> > and console handicraft by
> > >the artist.
> > >
> > >BIOGRAPHY
> > >
> > >Patrick Lichty is a technologically-based
> > conceptual artist, writer,
> > >independent curator, animator for the activist
> > group "The Yes Men," and
> > >Executive Editor of Intelligent Agent Magazine.
> His
> > work spans over 15
> > >years, dealing with media narrative/criticism and
> > information aesthetics, in
> > >many different contexts. He works in diverse
> > technological media, including
> > >painting, mobile media, printmaking, kinetics,
> > video, VR, generative music,
> > >and neon. Venues in which Lichty has been
> involved
> > with solo and
> > >collaborative works include the Whitney Biennial
> > and the International
> > >Symposium on the Electronic Arts (ISEA). Lichty
> is
> > a faculty member in the
> > >Interactive Arts and Media Department at Columbia
> > College Chicago.
> > >
> > >For more Turbulence Spotlights please visit
> > http://turbulence.org/spotlight/
> > >
> > >Jo-Anne Green, Co-Director
> > >New Radio and Performing Arts, Inc.:
> > http://new-radio.org
> > >New York: 917.548.7780 . Boston: 617.522.3856
> > >Turbulence: http://turbulence.org
> > >New American Radio: http://somewhere.org
> > >Networked_Performance Blog:
> > http://turbulence.org/blog
> > >Upgrade! Boston: http://turbulence.org/upgrade
> > >
> > >
> > >
> > >
> > >+
> > >-> post: list@rhizome.org
> > >-> questions: info@rhizome.org
> > >-> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > >-> give: http://rhizome.org/support
> > >+
> > >Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > >Membership Agreement available online at
> > http://rhizome.org/info/29.php
> > >
> >
> >
> >
> >
> > +
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > Membership Agreement available online at
> > http://rhizome.org/info/29.php
> >
>
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
might be nice to have different "flavours", but I
entirely see your reasoning behind the current
set-up..
michael
--- patrick lichty <voyd@voyd.com> wrote:
> Thanks for the discussion, everyone...
> It's getting close to end of semester, and I'm a
> little ebaked, so I'll
> be pretty brief.
>
> (1)Is there some software that automates pixel by
> pixel or small chunk by small chunk colour analysis
> of
> the images, or did you have to do it by hand with
> the
> eye dropper thing ( forgive me if there *is* &
> everyone but me knows it!)
>
> I could, but I got started with some of the images
> with Don Relyea's
> Reductionizer software, now mentioned on the page.
> The thing is that it
> doesn't give you centering, background color, and
> the files are too
> large to deal with any WYSIWYG editor, so I have to
> reformat them in
> Notepad.
>
> (2) Why a width of 5 or 3 and not single pixels
> -does
> the html page become impossibly big at 1?
>
> Not really - the images get small. What you see is
> the original
> resolution of many of the files. Many of them are
> wristcams (120x120).
> So, I wanted them to be larger.
>
> (3) Why is the refresh rate on the movies set so
> long?
> --10 secs, I think--was it trial and error to do
> with
> load time? I longed for pseudo cinematic motion,
> [which can, in fact, be achieved by the viewer, once
> the images have cycled through once, by using the
> browser forward & back buttons]
>
> OK, here's where it gets complex.
>
> I was looking for a negotiation between 'browser
> time' and "gallery
> time'.
> What I mean by this is that installation (gallery)
> time is something
> that privileges slower changes (read: Viola/Aitken).
> Browser time is
> much faster as it refers to near-straight download
> time for the
> unfolding of a work.
>
> The BIG problem here is that If I adhered to browser
> time, I would not
> be able to load the images quickly enough on slower
> bandwidth to
> accommodate for the refresh statement. Therefore,
> the morphology of the
> piece is also dependent on the bandwidth of the
> user.
>
> In addition, the piece is designed for gallery
> installation as well as
> browser viewing. For example, loops of the digital
> shadow puppets would
> allow for gallery goers to have a sip of their
> chardonnay and see a
> change after a minute of chat. Gallery time is a
> much more 'Lush' time
> than that of the browser, and ten seconds seemed
> like a good
> negotiation.
>
> Would it be appropriate to post a "5 second flavour"
> and a "1 Second
> Flavour" (playfully referring to denotation of
> variation within Eastern
> Media?")
>
>
> Patrick Lichty
> - Interactive Arts & Media
> Columbia College, Chicago
> - Editor-In-Chief
> Intelligent Agent Magazine
> http://www.intelligentagent.com
> 225 288 5813
> voyd@voyd.com
>
> "It is better to die on your feet
> than to live on your knees."
>
>
> I realy like this work by Patrick.
> It is elegant in the extreme - it appeals to our
> appreciation & understanding of his technical skill
> &
> of his own sense of where he lies in an ongoing
> tradition ( both of his and others' making -he is
> truly the *Prince of the Pixel*), but the end result
> is also somehow touching (not in a weak sentimental
> sense, but in the sense of reaching us emotionally
> in
> a complex way). So complex stuff to chew on but to
> an
> affective end...enough to make an excellent start in
> my book..
> I would like to ask three questions of Patrick:
> (1)Is there some software that automates pixel by
> pixel or small chunk by small chunk colour analysis
> of
> the images, or did you have to do it by hand with
> the
> eye dropper thing ( forgive me if there *is* &
> everyone but me knows it!)
> (2) Why a width of 5 or 3 and not single pixels
> -does
> the html page become impossibly big at 1?
> (3) Why is the refresh rate on the movies set so
> long?
> --10 secs, I think--was it trial and error to do
> with
> load time? I longed for pseudo cinematic motion,
> [which can, in fact, be achieved by the viewer, once
> the images have cycled through once, by using the
> browser forward & back buttons]
> best
> michael
>
> --- salvatore.iaconesi@fastwebnet.it wrote:
>
> > i know i don't have all the "titles" and that it
> > might sound a foolish
> > question:
> >
> > but haven't loads of folks been doing this stuff?
> >
> > even i've been doing this stuff, and i'm the
> > laaaaaast little meaningless one
> > of a crowd...
> >
> > yes, yes, i know, you/we all grab stuff and attach
> > meanings to it. we all do.
> > and blablabla...
> >
> > but isn't there something more interesting to
> > "Spotlight"? :)
> >
> > this is meant to be a constructive criticism.
> >
> >
> > >----Messaggio originale----
> > >Dal: turbulence@turbulence.org
> > >Data: 17/11/2006 23.59
> > >A: "Jo-Anne Green"<jo@turbulence.org>
> > >Ogg: RHIZOME_RAW: Turbulence Spotlight:
> > "Tabula Visum: Tabular Vision
> > & HTML Cinema" by Patrick Lichty
> > >
> > >November 17, 2006
> > >Turbulence Spotlight: "Tabula Visum: Tabular
> Vision
> > & HTML Cinema" by
> > >Patrick Lichty
> > >http://turbulence.org/spotlight/lichty
> > >
> > >Both static and dynamic digital images have often
> > been represented as
> > >'translated' images, reinterpreted from an
> > intermediate image file stored on
> > >the web. Beginning with these files, Lichty has
> > translated the images and
> > >videos to pure HTML code. As such, they represent
> a
> > very 'direct' method of
> > >representation in the browser. In addition, there
> > is a time-based element
> > >that occurs when the tables load into the
> browser.
> > Thus, "HTML Cinema" has
> > >two dimensions; the time of the load, and the
> time
> > of the serial.
> > >
> > >Many of these images are excerpts from Lichty's
> > wristcam photography and
> > >video works. After conversion to pure code,
> several
> > of the pages were
> > >unmanageable; therefore, they are a hybrid of
> code
> > and console handicraft by
> > >the artist.
> > >
> > >BIOGRAPHY
> > >
> > >Patrick Lichty is a technologically-based
> > conceptual artist, writer,
> > >independent curator, animator for the activist
> > group "The Yes Men," and
> > >Executive Editor of Intelligent Agent Magazine.
> His
> > work spans over 15
> > >years, dealing with media narrative/criticism and
> > information aesthetics, in
> > >many different contexts. He works in diverse
> > technological media, including
> > >painting, mobile media, printmaking, kinetics,
> > video, VR, generative music,
> > >and neon. Venues in which Lichty has been
> involved
> > with solo and
> > >collaborative works include the Whitney Biennial
> > and the International
> > >Symposium on the Electronic Arts (ISEA). Lichty
> is
> > a faculty member in the
> > >Interactive Arts and Media Department at Columbia
> > College Chicago.
> > >
> > >For more Turbulence Spotlights please visit
> > http://turbulence.org/spotlight/
> > >
> > >Jo-Anne Green, Co-Director
> > >New Radio and Performing Arts, Inc.:
> > http://new-radio.org
> > >New York: 917.548.7780 . Boston: 617.522.3856
> > >Turbulence: http://turbulence.org
> > >New American Radio: http://somewhere.org
> > >Networked_Performance Blog:
> > http://turbulence.org/blog
> > >Upgrade! Boston: http://turbulence.org/upgrade
> > >
> > >
> > >
> > >
> > >+
> > >-> post: list@rhizome.org
> > >-> questions: info@rhizome.org
> > >-> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > >-> give: http://rhizome.org/support
> > >+
> > >Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > >Membership Agreement available online at
> > http://rhizome.org/info/29.php
> > >
> >
> >
> >
> >
> > +
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > Membership Agreement available online at
> > http://rhizome.org/info/29.php
> >
>
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
Re: R: RHIZOME_RAW: Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by Patrick Lichty
Hi Salvatore
I don't see why things always have to be new.
Sometimes the most interesting art is that which
consolidates rather than makes technical or even
aesthetic breakthroughs.
Schoenberg made a breakthrough in 20th century art
music but his pupils Berg and Webern are much the more
interesting and durable composers.
I realy like this work by Patrick.
It is elegant in the extreme - it appeals to our
appreciation & understanding of his technical skill &
of his own sense of where he lies in an ongoing
tradition ( both of his and others' making -he is
truly the *Prince of the Pixel*), but the end result
is also somehow touching (not in a weak sentimental
sense, but in the sense of reaching us emotionally in
a complex way). So complex stuff to chew on but to an
affective end...enough to make an excellent start in
my book..
I would like to ask three questions of Patrick:
(1)Is there some software that automates pixel by
pixel or small chunk by small chunk colour analysis of
the images, or did you have to do it by hand with the
eye dropper thing ( forgive me if there *is* &
everyone but me knows it!)
(2) Why a width of 5 or 3 and not single pixels -does
the html page become impossibly big at 1?
(3) Why is the refresh rate on the movies set so long?
--10 secs, I think--was it trial and error to do with
load time? I longed for pseudo cinematic motion,
[which can, in fact, be achieved by the viewer, once
the images have cycled through once, by using the
browser forward & back buttons]
best
michael
--- salvatore.iaconesi@fastwebnet.it wrote:
> i know i don't have all the "titles" and that it
> might sound a foolish
> question:
>
> but haven't loads of folks been doing this stuff?
>
> even i've been doing this stuff, and i'm the
> laaaaaast little meaningless one
> of a crowd...
>
> yes, yes, i know, you/we all grab stuff and attach
> meanings to it. we all do.
> and blablabla...
>
> but isn't there something more interesting to
> "Spotlight"? :)
>
> this is meant to be a constructive criticism.
>
>
> >----Messaggio originale----
> >Dal: turbulence@turbulence.org
> >Data: 17/11/2006 23.59
> >A: "Jo-Anne Green"<jo@turbulence.org>
> >Ogg: RHIZOME_RAW: Turbulence Spotlight:
> "Tabula Visum: Tabular Vision
> & HTML Cinema" by Patrick Lichty
> >
> >November 17, 2006
> >Turbulence Spotlight: "Tabula Visum: Tabular Vision
> & HTML Cinema" by
> >Patrick Lichty
> >http://turbulence.org/spotlight/lichty
> >
> >Both static and dynamic digital images have often
> been represented as
> >'translated' images, reinterpreted from an
> intermediate image file stored on
> >the web. Beginning with these files, Lichty has
> translated the images and
> >videos to pure HTML code. As such, they represent a
> very 'direct' method of
> >representation in the browser. In addition, there
> is a time-based element
> >that occurs when the tables load into the browser.
> Thus, "HTML Cinema" has
> >two dimensions; the time of the load, and the time
> of the serial.
> >
> >Many of these images are excerpts from Lichty's
> wristcam photography and
> >video works. After conversion to pure code, several
> of the pages were
> >unmanageable; therefore, they are a hybrid of code
> and console handicraft by
> >the artist.
> >
> >BIOGRAPHY
> >
> >Patrick Lichty is a technologically-based
> conceptual artist, writer,
> >independent curator, animator for the activist
> group "The Yes Men," and
> >Executive Editor of Intelligent Agent Magazine. His
> work spans over 15
> >years, dealing with media narrative/criticism and
> information aesthetics, in
> >many different contexts. He works in diverse
> technological media, including
> >painting, mobile media, printmaking, kinetics,
> video, VR, generative music,
> >and neon. Venues in which Lichty has been involved
> with solo and
> >collaborative works include the Whitney Biennial
> and the International
> >Symposium on the Electronic Arts (ISEA). Lichty is
> a faculty member in the
> >Interactive Arts and Media Department at Columbia
> College Chicago.
> >
> >For more Turbulence Spotlights please visit
> http://turbulence.org/spotlight/
> >
> >Jo-Anne Green, Co-Director
> >New Radio and Performing Arts, Inc.:
> http://new-radio.org
> >New York: 917.548.7780 . Boston: 617.522.3856
> >Turbulence: http://turbulence.org
> >New American Radio: http://somewhere.org
> >Networked_Performance Blog:
> http://turbulence.org/blog
> >Upgrade! Boston: http://turbulence.org/upgrade
> >
> >
> >
> >
> >+
> >-> post: list@rhizome.org
> >-> questions: info@rhizome.org
> >-> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set
> out in the
> >Membership Agreement available online at
> http://rhizome.org/info/29.php
> >
>
>
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
I don't see why things always have to be new.
Sometimes the most interesting art is that which
consolidates rather than makes technical or even
aesthetic breakthroughs.
Schoenberg made a breakthrough in 20th century art
music but his pupils Berg and Webern are much the more
interesting and durable composers.
I realy like this work by Patrick.
It is elegant in the extreme - it appeals to our
appreciation & understanding of his technical skill &
of his own sense of where he lies in an ongoing
tradition ( both of his and others' making -he is
truly the *Prince of the Pixel*), but the end result
is also somehow touching (not in a weak sentimental
sense, but in the sense of reaching us emotionally in
a complex way). So complex stuff to chew on but to an
affective end...enough to make an excellent start in
my book..
I would like to ask three questions of Patrick:
(1)Is there some software that automates pixel by
pixel or small chunk by small chunk colour analysis of
the images, or did you have to do it by hand with the
eye dropper thing ( forgive me if there *is* &
everyone but me knows it!)
(2) Why a width of 5 or 3 and not single pixels -does
the html page become impossibly big at 1?
(3) Why is the refresh rate on the movies set so long?
--10 secs, I think--was it trial and error to do with
load time? I longed for pseudo cinematic motion,
[which can, in fact, be achieved by the viewer, once
the images have cycled through once, by using the
browser forward & back buttons]
best
michael
--- salvatore.iaconesi@fastwebnet.it wrote:
> i know i don't have all the "titles" and that it
> might sound a foolish
> question:
>
> but haven't loads of folks been doing this stuff?
>
> even i've been doing this stuff, and i'm the
> laaaaaast little meaningless one
> of a crowd...
>
> yes, yes, i know, you/we all grab stuff and attach
> meanings to it. we all do.
> and blablabla...
>
> but isn't there something more interesting to
> "Spotlight"? :)
>
> this is meant to be a constructive criticism.
>
>
> >----Messaggio originale----
> >Dal: turbulence@turbulence.org
> >Data: 17/11/2006 23.59
> >A: "Jo-Anne Green"<jo@turbulence.org>
> >Ogg: RHIZOME_RAW: Turbulence Spotlight:
> "Tabula Visum: Tabular Vision
> & HTML Cinema" by Patrick Lichty
> >
> >November 17, 2006
> >Turbulence Spotlight: "Tabula Visum: Tabular Vision
> & HTML Cinema" by
> >Patrick Lichty
> >http://turbulence.org/spotlight/lichty
> >
> >Both static and dynamic digital images have often
> been represented as
> >'translated' images, reinterpreted from an
> intermediate image file stored on
> >the web. Beginning with these files, Lichty has
> translated the images and
> >videos to pure HTML code. As such, they represent a
> very 'direct' method of
> >representation in the browser. In addition, there
> is a time-based element
> >that occurs when the tables load into the browser.
> Thus, "HTML Cinema" has
> >two dimensions; the time of the load, and the time
> of the serial.
> >
> >Many of these images are excerpts from Lichty's
> wristcam photography and
> >video works. After conversion to pure code, several
> of the pages were
> >unmanageable; therefore, they are a hybrid of code
> and console handicraft by
> >the artist.
> >
> >BIOGRAPHY
> >
> >Patrick Lichty is a technologically-based
> conceptual artist, writer,
> >independent curator, animator for the activist
> group "The Yes Men," and
> >Executive Editor of Intelligent Agent Magazine. His
> work spans over 15
> >years, dealing with media narrative/criticism and
> information aesthetics, in
> >many different contexts. He works in diverse
> technological media, including
> >painting, mobile media, printmaking, kinetics,
> video, VR, generative music,
> >and neon. Venues in which Lichty has been involved
> with solo and
> >collaborative works include the Whitney Biennial
> and the International
> >Symposium on the Electronic Arts (ISEA). Lichty is
> a faculty member in the
> >Interactive Arts and Media Department at Columbia
> College Chicago.
> >
> >For more Turbulence Spotlights please visit
> http://turbulence.org/spotlight/
> >
> >Jo-Anne Green, Co-Director
> >New Radio and Performing Arts, Inc.:
> http://new-radio.org
> >New York: 917.548.7780 . Boston: 617.522.3856
> >Turbulence: http://turbulence.org
> >New American Radio: http://somewhere.org
> >Networked_Performance Blog:
> http://turbulence.org/blog
> >Upgrade! Boston: http://turbulence.org/upgrade
> >
> >
> >
> >
> >+
> >-> post: list@rhizome.org
> >-> questions: info@rhizome.org
> >-> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set
> out in the
> >Membership Agreement available online at
> http://rhizome.org/info/29.php
> >
>
>
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
work; some new, some old
Hi
three November pieces:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi/2006/11
"November Cat" is a bit of domestic fluff
" An Enemy of the People" is a video version of a
shockwave piece I made awhile back,
now with much improved sound..
"Stort" is rather a big file, but I urge you to
persevere, it's a sort of tribute to the Dutch
landscape tradition...
November Cat is silent, the other two have sound ( &
'Enemy' is meaningless without it)
best
michael
three November pieces:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi/2006/11
"November Cat" is a bit of domestic fluff
" An Enemy of the People" is a video version of a
shockwave piece I made awhile back,
now with much improved sound..
"Stort" is rather a big file, but I urge you to
persevere, it's a sort of tribute to the Dutch
landscape tradition...
November Cat is silent, the other two have sound ( &
'Enemy' is meaningless without it)
best
michael
Re: [webartery] convert ASF to a format that Premiere can read?
Hi Millie
I use an small MP4 recorder on occasion (I don't know
whether you remember my *my funny valentine* piece -
the piano sections were shot with it) which records to
this deeply irritating format -why can't an mpeg4
recorder record to mp4?? - I use River Past Cleaner
http://www.riverpast.com/en/prod/videocleaner/compare.php
to convert.
I have the full version but it looks as though the
lite version will do what you want.
When I first got the camera I googled feverishly to
see if there was a free converter -I couldn't find one
but things could've moved on.
There's also another converter I've seen, called total
video converter,
http://www.effectmatrix.com/total-video-converter/
which seems to do much the same stuff. Looks as though
you can download a trial of that, not sure how the
trial is limited though...
Looking forward to seeing the piece!
best
michael
--- Millie Niss <men2@columbia.edu> wrote:
> I have a weird off-brand media player, the Cowon A2
> (an MP3 player that can
> also play & record video), and I recorded some stuff
> from TV using it. It
> plays back beautifully on the player and on my
> computer using Windows Media
> Player, but I can't for the life of me get ot ontpo
> Premiere, and I made the
> recording to get source material for my work, not to
> watch as-is...
>
> It's an ASF file. Premiere claims to be able to
> import ASF but it can't
> import this. I tried many many methods to convert,
> and the only thing that
> worked at all was importing into Windows Movie Maker
> and exporting the movie
> as AVI, but this degraded the quality horribly (the
> input ASF file is a
> weird small size and WMM only exports a few standard
> sizes) and it also took
> forever (several hours for an hour of video).
>
> Does anyone have any ideas?
>
> By the way I am not ripping off network TV shows
> etc. -- my recording is
> mostly of televangelists and commercials, and I am
> planning a mashup that
> will process the images and sounds beyond
> recognition.
>
> Millie Niss
> men2@columbia.edu
> http://www.sporkworld.org
>
> P.S. If you are replying from Rhizome RAW, please
> email me a copy because I
> read only Rare and the reply might not make it
> there...
>
> ----- Original Message -----
> From: "Joel Weishaus" <weishaus@pdx.edu>
> To: "Webartery" <webartery@yahoogroups.com>
> Sent: Sunday, November 05, 2006 11:12 AM
> Subject: [webartery] Fw: "introduction" posted for
> feedback and suggestions
>
>
>
> On Oct 29, 2006, at 8:01 AM, Richard Smyth wrote:
>
>
> Hi,
>
> I've written the following as an intro to "the
> selected works of ulmer,"
> a book i'm making in Second Life to introduce
> researchers and students to
> these concepts. Please feel free to
> critique/criticize/suggest
> revision/etc. I invite your collaboration.
>
> Thanks.
> Richard
>
> INTRODUCTION TO THE SELECTED WORKS OF ULMER
>
>
> "What Aristotle is to rhetoric and poetics,
> Ulmer is to hyperrhetoric
> and poetics."
>
> --Victor
> Vitanza
>
>
> Vitanza's statement is no exaggeration. Since
> the publication of his
> first book, Applied Grammatology: Post(e)-Pedagogy
> from Jacques Derrida to
> Joseph Beuys, the career of Gregory Ulmer has
> consistently aimed at learning
> from past practices of information storage and
> retrieval with the purpose of
> inventing new practices for emerging media at a time
> of major cultural and
> social transformation.
>
> As a "grammatologist"-that is, as one who
> studies the "history and
> theory of writing"-Ulmer puts the practices of
> orality and literacy into a
> broader historical context such that the underlying
> dynamics of these
> "apparatuses" become apparent. For him the
> apparatus is a triad of
> variables which includes the available communication
> technology (thought of
> as a prosthesis augmenting functions of the human
> mindbrain like memory,
> reason, emotion, and social networking); the
> institutional practices that
> result from social, economic, and political-power
> relations; and the
> experience of self made possible by these
> technologies and practices.
>
> Working by means of "grammatological analogy,"
> (that is, looking to past
> moments of transition in apparatus), Ulmer applies
> this anthropological
> calculus to our current historical moment with the
> purpose of inventing
> institutional practices for the emerging apparatus,
> which he calls
> "electracy." This neologism is a more appropriate
> term to use because the
> host of "literacies" that have cropped up (such as
> critical literacy,
> digital literacy, multimedia literacy, participatory
> media literacy,
> teleliteracy and the like) all retain an
> etymological connection to the
> apparatus of literacy, which comes from the Latin
> for letter, "littera."
> Electracy, on the other hand, invokes the electronic
> underpinnings of
> digital devices and is shorthand for the larger
> constellation of cultural
> and social phenomena that constitute our postmodern
> paradigm shift. As
> Barbara Maria Stafford writes in Artful Science,
> "Pixels are the movable
> type of the future." And the future is now.
>
> Ulmer's work provides the most comprehensive
> explanation for the
> technological, institutional, and cultural changes
> that humanity has faced
> in past transitions in apparatus and is facing in
> the 21st century, and it
> offers the most effective insights for how to
> understand the phenomena of
> Second Life and other forms of existing and emerging
> participatory media.
> By looking to the past, Ulmer provides a way to go
> forward into the future,
> allowing the arts and humanities to contribute
> consciously to the invention
> of new genres and institutional practices, rather
> than letting them emerge
> as a result of and under the influence of other
> social and economic forces.
>
> For this reason, I present the "selected works"
> of Gregory L. Ulmer, a
> collection of key quotes and passages from his
> published work, to help raise
> awareness of these important ideas and to bring them
> to a broader Second
> Life public.
>
> Abaris Brautigan
> Techno-Grammatologist Collaborative
> 29 October 2006
>
>
>
> ____________________________
> Richard Smyth
> 2 South New Street
> Bradford, MA 01835
> 978-469-7085
> rsmyth64@yahoo.com
> http://www.anabiosispress.org/rsmyth
>
>
>
>
> [Non-text portions of this message have been
> removed]
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
I use an small MP4 recorder on occasion (I don't know
whether you remember my *my funny valentine* piece -
the piano sections were shot with it) which records to
this deeply irritating format -why can't an mpeg4
recorder record to mp4?? - I use River Past Cleaner
http://www.riverpast.com/en/prod/videocleaner/compare.php
to convert.
I have the full version but it looks as though the
lite version will do what you want.
When I first got the camera I googled feverishly to
see if there was a free converter -I couldn't find one
but things could've moved on.
There's also another converter I've seen, called total
video converter,
http://www.effectmatrix.com/total-video-converter/
which seems to do much the same stuff. Looks as though
you can download a trial of that, not sure how the
trial is limited though...
Looking forward to seeing the piece!
best
michael
--- Millie Niss <men2@columbia.edu> wrote:
> I have a weird off-brand media player, the Cowon A2
> (an MP3 player that can
> also play & record video), and I recorded some stuff
> from TV using it. It
> plays back beautifully on the player and on my
> computer using Windows Media
> Player, but I can't for the life of me get ot ontpo
> Premiere, and I made the
> recording to get source material for my work, not to
> watch as-is...
>
> It's an ASF file. Premiere claims to be able to
> import ASF but it can't
> import this. I tried many many methods to convert,
> and the only thing that
> worked at all was importing into Windows Movie Maker
> and exporting the movie
> as AVI, but this degraded the quality horribly (the
> input ASF file is a
> weird small size and WMM only exports a few standard
> sizes) and it also took
> forever (several hours for an hour of video).
>
> Does anyone have any ideas?
>
> By the way I am not ripping off network TV shows
> etc. -- my recording is
> mostly of televangelists and commercials, and I am
> planning a mashup that
> will process the images and sounds beyond
> recognition.
>
> Millie Niss
> men2@columbia.edu
> http://www.sporkworld.org
>
> P.S. If you are replying from Rhizome RAW, please
> email me a copy because I
> read only Rare and the reply might not make it
> there...
>
> ----- Original Message -----
> From: "Joel Weishaus" <weishaus@pdx.edu>
> To: "Webartery" <webartery@yahoogroups.com>
> Sent: Sunday, November 05, 2006 11:12 AM
> Subject: [webartery] Fw: "introduction" posted for
> feedback and suggestions
>
>
>
> On Oct 29, 2006, at 8:01 AM, Richard Smyth wrote:
>
>
> Hi,
>
> I've written the following as an intro to "the
> selected works of ulmer,"
> a book i'm making in Second Life to introduce
> researchers and students to
> these concepts. Please feel free to
> critique/criticize/suggest
> revision/etc. I invite your collaboration.
>
> Thanks.
> Richard
>
> INTRODUCTION TO THE SELECTED WORKS OF ULMER
>
>
> "What Aristotle is to rhetoric and poetics,
> Ulmer is to hyperrhetoric
> and poetics."
>
> --Victor
> Vitanza
>
>
> Vitanza's statement is no exaggeration. Since
> the publication of his
> first book, Applied Grammatology: Post(e)-Pedagogy
> from Jacques Derrida to
> Joseph Beuys, the career of Gregory Ulmer has
> consistently aimed at learning
> from past practices of information storage and
> retrieval with the purpose of
> inventing new practices for emerging media at a time
> of major cultural and
> social transformation.
>
> As a "grammatologist"-that is, as one who
> studies the "history and
> theory of writing"-Ulmer puts the practices of
> orality and literacy into a
> broader historical context such that the underlying
> dynamics of these
> "apparatuses" become apparent. For him the
> apparatus is a triad of
> variables which includes the available communication
> technology (thought of
> as a prosthesis augmenting functions of the human
> mindbrain like memory,
> reason, emotion, and social networking); the
> institutional practices that
> result from social, economic, and political-power
> relations; and the
> experience of self made possible by these
> technologies and practices.
>
> Working by means of "grammatological analogy,"
> (that is, looking to past
> moments of transition in apparatus), Ulmer applies
> this anthropological
> calculus to our current historical moment with the
> purpose of inventing
> institutional practices for the emerging apparatus,
> which he calls
> "electracy." This neologism is a more appropriate
> term to use because the
> host of "literacies" that have cropped up (such as
> critical literacy,
> digital literacy, multimedia literacy, participatory
> media literacy,
> teleliteracy and the like) all retain an
> etymological connection to the
> apparatus of literacy, which comes from the Latin
> for letter, "littera."
> Electracy, on the other hand, invokes the electronic
> underpinnings of
> digital devices and is shorthand for the larger
> constellation of cultural
> and social phenomena that constitute our postmodern
> paradigm shift. As
> Barbara Maria Stafford writes in Artful Science,
> "Pixels are the movable
> type of the future." And the future is now.
>
> Ulmer's work provides the most comprehensive
> explanation for the
> technological, institutional, and cultural changes
> that humanity has faced
> in past transitions in apparatus and is facing in
> the 21st century, and it
> offers the most effective insights for how to
> understand the phenomena of
> Second Life and other forms of existing and emerging
> participatory media.
> By looking to the past, Ulmer provides a way to go
> forward into the future,
> allowing the arts and humanities to contribute
> consciously to the invention
> of new genres and institutional practices, rather
> than letting them emerge
> as a result of and under the influence of other
> social and economic forces.
>
> For this reason, I present the "selected works"
> of Gregory L. Ulmer, a
> collection of key quotes and passages from his
> published work, to help raise
> awareness of these important ideas and to bring them
> to a broader Second
> Life public.
>
> Abaris Brautigan
> Techno-Grammatologist Collaborative
> 29 October 2006
>
>
>
> ____________________________
> Richard Smyth
> 2 South New Street
> Bradford, MA 01835
> 978-469-7085
> rsmyth64@yahoo.com
> http://www.anabiosispress.org/rsmyth
>
>
>
>
> [Non-text portions of this message have been
> removed]
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>