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blind date
blind date and Ctrl Crowd
an audiovisual performance by Pd~graz and Ctrl Crowd (The Armpods: Tracking, Streaming, Interacting) an audiovisual performance by BBM
Thursday 25.5.2006
NOD Experimental Space ROXY/Prague Dlouha 33 Prague 1, Czech Republic
live video stream http://stream.node9.org/live.sdp
radio lemurie www.lemurie.czma
blind date -8.p.m.- 8.45 p.m.
blind date is an audiovisual performance which aims at an artistic extension of common patterns in computer programming: rather than featuring isolated programmers, two persons at a time are working together on a single Pd patch, both using their own physical keyboard, mouse and monitor but actually operating the same logical interfaces, e.g. the same mouse pointer. Since they have to share access to the machine, the two players need to coordinate their work in order to produce a functioning patch. Rather than merely representing a technical tool, the patch therefore also becomes the primary means of communication between the programmers.
Since the performance features two computers - one for audio, one for video - four players are programming at a time. The performance starts with a blank canvas (i.e. an empty patch), and participants are exchanged at regular time intervals, so that different combinations of programmers continue the work on the patches as left by their predecessors. Besides the resulting audio and video works, the patches themselves are projected into the performance environment as well. As opposed to usual objectives of audiovisual programming, this allows for a deep insight of the audience into the processes of programming and communication among the players.
blind date performers
So far, blind date has been performed at two different occasions: the "musikprotokoll im Steirischen Herbst" festival and the "net community congress", both in 2005. In the first case, an additional referee (Harald Wiltsche) had control over the exchange of the players.
further information
Pd (aka Pure Data) is a real-time graphical programming environment for audio, video, and graphical processing. Unlike in text-based programming languages, Pd programs ("patches") are built graphically by using "wires" to connect "boxes", which represent routines operating on the data. Pd is the third major branch of the family of patcher programming languages known as Max (Max/FTS, ISPW Max, Max/MSP, jMax, etc.) originally developed by Miller Puckette and others at the IRCAM (Institut de Recherche et Coordination Acoustique/Musique, Paris, France). The core of Pd is written and maintained by Miller Puckette and includes the work of many developers, making the whole package very much a community effort. Pd was created to explore ideas of how to further refine the Max paradigm with the core ideas of allowing data to be treated in a more open-ended way and opening it up to applications outside of audio and MIDI, such as graphics and video. Pd~graz
The range of users and developers of Pd in the city of Graz, Austria covers a very wide spectrum, reaching from independent artistic production to academic research. Some of the most relevant extensions to the software are written and maintained by local developers (iemlib by Thomas Musil, zexy and Gem by IOhannes m zmölnig). Also, several local institutions have a long tradition of dealing with art in a technological context and contribute greatly to the community: • mur.at as a cooperation for the promotion of network art (http://www.mur.at) • the ESC gallery(http://esc.mur.at) • the CC - mur.at's "competence center" (http://cc.mur.at) • the Institute of Electronic Music and Acoustics (IEM) (http://iem.at) • the medien.KUNSTLABOR (media art lab) at the Kunsthaus Graz (http://www.medienkunstlabor.at)
In 2005, the Pd~graz group has been founded as a collaboration for the organization of artistic performances, workshops, etc. At the same time, the newborn Pd~ record label has published its first release: a DVD including artistic works presented at the Pd~Convention 2004. Current members of Pd~graz are: Lukas Gruber, Reni Hofm*ller, Florian Hollerweger, Georg Holzmann, Karin Koschell, Thomas Musil, Markus Noisternig, Renate Oblak, Michael Pinter, Peter Plessas, Nicole Pruckermayr, Winfried Ritsch, Romana Rust, Uwe Vollmann, Franz Xaver, Ales Zemene, Fraenk Zimmer, IOhannes m zmoelnig
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- p.m.
Ctrl.Crowd - The Armpods: Tracking, Streaming, Interacting
an art project on the "technologies of political control"
by BBM, http://www.bbm.de
The ‚Armpod' is a wearable multimedia device, which can be attached to the visitors arm, with the help of a roboclamp. It consists of a board (minicomputer), a battery, a 4c-screen, a special powerfull soundsystem (50W exciter), which uses the body of the wearer as resonator. Also built-in is a lenseye at the top of the Armpods, which collects infrared signals of a location tracking system: Infrared sensors are locating the position of the device and the person who is attached to it, in the room (max. 200 sqm) and show his position on a map on the device itself. Depending on the position of the devices in the given room, the visitors will get special videoclips based on the mentioned theme.
Thanks to a developed automatic algorithm, which connects their position to a video-database fi lled with about 500 videoclips, they get a individual mix of videoclips and sound depending on their walk through the exhibition space. "armpod-concerts" In the run-up to the "armpod-concerts" it is appropriate to develop acoustical and visual content with various international artists, which will be than streamed to the Armpods. For this purpose it is possible to make a workshop wherever the concerts will be held.
Specially in the respect of different experiences of artists from different countries regarding ‚culture and homeland security we anticipate interesting outcomes of an international cooperation.
Video surveillance, locationtracking of wanted persons via observation, is gone. Someone who buys today razor blades at WalMart, or a shirt at Benetton, will be tracked, even if the anti-theft device has been removed already: Waferthin inline ‚foilmarkers' are registering your consumerprofi le, even after you have left the wonderful consumption temples. Your newest shirt becomes a shackle, replacing the electronic bracelet by its civil antipode.
Logically everyone, who consumes, becomes a suspect. The impact for developers of new operational systems: The identifi cation of the suspect coincides with the actual punishment. They want to see and and shoot in the same run. Hiding behind euphemisms like"body area networks" there is always an approach to realise the "total control".
Microchips can already be injected, agents of a purely hedonistic culture, e.g. at "Baja Beach Club" for 180 EUR, only for being able to dance without hindering clothes under the light of the RFID-scanners, and pay without cash or credit card. The very same chip serves for licensing ‚high-tech' so called non-lethal weapon to their users only. If the ‚chipped' policeman looses his non-lethal ‚kinetic impact weapon' or his "demons" (short for: directed energy munition), it will be useless for the fi nder. It could only be fi red if the handhold lies close to the implanted chip. The instruments of control coming more and more closer to our physical bodies. They are growing into us, into both the controllers and the suspects. These "microtechnical" elements are our technical organs, heralds of a bio- or nanotechnology, which will fi nally reconstruct ourselves completely. The artproject Equipped with "Armpods" the visitors will get a mobile sound- and videostreaming system, which is developed by the European Germany-based artistgroup BBM.
Amongst them the Hungarian multimedia developer Zsolt Barat, who won an ideas competition and the Linux New-Media-Award for contributing to an originally piece of free (open source) software; plus two Spanish artists and programmers, Juan Carrillo and Jos Garrido Sanchez; the Czech kinetic-artist and airplane-engineer Stanislav Vajce; the German robotic-specialist Lars Vaupel, who worked for years with Stelarc; and the World-Exhibition-2000- scenographers Olaf Arndt and Janneke Schnenbach.
The Armpods won a fi rst prize for the best art-technology-content relation by the Bremen University of Arts 2005 and is sponsored by its Technology Innovation Center TZI.
performances:
CAC, Vilnius, LT C3 Budapest, HU ROXY Prag, CZ CAC, Vilnius, LT Mobile Akademie Warschau, PL KIBLA, Maribor, SL
Supported by IFA a organized in collaboration with Experimental Space ROXY, Film and Televison Faculty Academy of Performing Arts, Prague, Asociation MLOK
Experimetal Space ROXY and Asociation MLOK supported by The Municipal of Prague and The Ministery of Culture of Czech Republic
The Troia Project was supported by EU project Culture2000
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Workshop: "pure-data and Gem: using DSP for video processing" (Peter Plessas, Ales Zemene, IOhannes m zmoelnig)
Ort: FAMU (FILMOVÁ A TELEVIZNÍ FAKULTA AKADEMIE MÚZICKÝCH UMĚNÍ V PRAZE, FILM AND TV SCHOOL OF THE ACADEMY OF PERFORMING ARTS IN PRAGUE) Filakademie Prag