The soul of kochei the deathless is balanced in an eye of a needle inside an egg, in a goose, in a hare, in a trout, that swims in the river beyond the river styx.
There are other versions of this tale, sometimes the hare is buried in a trunk beneath the tree of life. Sometimes it is balanced on the top of a pin.
The story always struck me as a fascinating recursion, as many things in russian folklore are. Magical lands tend to be located beyond thirty times lands and fertility dolls nest within each other endlessly. To this end, here is a short video of a program that runs on a loop, searching for the sould of kochei.
Get some wire
get some ferrous, circular materials, I used the tops of pins
cut a small insicion in the side
cut out centers, they don’t have to be even
wrap the circles with a wire, about 60 turns each
get 6 resistors, I used 100k resistors
fold over their legs
and cut off the excess
solder two resistors to one end of the wire coil
you can wrap them around all sorts of things found around the house
attach a wire to each resistor and one to the other end of the wire
get an xbee and feed it 3.3v dc
NOTE! Do not cross power and ground cables on your circuit!
cuircuit graciously borrowed from: http://openenergymonitor.org/emon/node/28
put the pin into pin one on the xbee, one of the resistor wires to power, the other to ground
the other xbee will relay messages the internet
Following the score below for one of my sound walks, Arturo Vidich, performed the JMZ Tunnel at the Canal Street Station in the hallway of the television center at NYU.
since my project is in a way, already networked, in the contemporary sense of the word, (it is commercially distributable over the internet, it is open source, it is a user personalized experience, they can upload their recordings of the experience to a central database, chat in forums, etc, developers can download my code, and there is an open source application that can be downloaded in order to DJ, over a network, with the patch), I decided to “network” my project by broadcasting it over a radio network. It is a two way network, so direct communication can happen in real time, but it is localized to the range of transmission of my radios (40 feet radius in NY), and it helps to have line of sight to make the experience fuller
What I tried to do:
I took “projection” (even though it was not mention it was implied) too relevantly.
My first impulse was to take a projector and use the film inside it as a trope for the “reality” in my project and a transparent process of automated manipulation (including recording, manipulation and re-projection of that processed image onto the same surface with a digital projector) as instructional performance (think learning by seeing) as a way to communicate my project to a broader audience.
I spent a lot of time on the film, I was looking for it’s reality. I found scratched audio to be a good trope because it has direct correlation of form, image and sound. But this was more about film as a medium.
Next I collected a series of screen tests and began to splice them together. But this was also problematic because while it represents the politics of film in a nice way, it has nothing to do with some “reality” of film.
Last night I finally realized, naturally that the thing that makes most sense about projection was to go to my site, have its photons project onto my film, project my film onto the screen and then begin to “edit” live the footage, eating it up and spitting it out with the digitizing process in a very clear way.
The effects in my patch were all designed to have to do with working with film (ie affecting framerate, exposure, etc. ). But that is probably not the right approach again, probably the best method would have been to try to affect only the time and rhythm of the image, or the content in a way that recognizes it’s shapes.
Documentation of what I did below.
The Amazing Winslow Porter at Not Spring Not Winter
as part of Site Fest NYC
I went to one of my favorite places in New York, on a very cold January afternoon (with good company). Armed with a Panasonic tape recorder with a tape inside untouched since the early nineties, “Chrome”, by Catherine Wheel. I had, of course neglected to get equipment on time from the er, but the abandoned medium fit the abandoned space.
There were ducks and geese flying low in flocks, grazing the frigid water, paddling about in makeshift lagoons that cropped up inside hulls of rusted out barges. There were cinderblocks overgrown with muscles, a contaminated park nearby, closed off to humans. If Tarkovsky lived in South Brooklyn, he would have had a cow.
Hmm, that’s the second reference I make to him in this class. Odd.
Here are the words:
carcasses, shelled hulls, graveyard of muscles
seared wings, touched water
skimmed ice, we are walking on thin ice
danger, contaminated grounds
close your mouth, close your eyes
I can’t say I’m not surprised
there is a sanctuary here
How it works:
You control the body by pushing buttons from the control page.
It writes the commands to a text file.
The local page polls the file and writes the commands to the puppet.
The audio and visual is transmitted through skype.
Who doesn’t want telepresence? And if you can have any body, why not have a 360 degree moving racecar body with pimped out led wheels?
Final ICM Project
A Ghost Writes is a project in materializing messages sent over the ether into a time based site specific experience. We gave the printing machine an algorithmic “personality”.
The computer is…
It can be anything and everything
Primordial electronic ooze
Ancient mechanical technologies have a singular purpose.
For instance the typewriter is used to write, it is rooted in a physical experience. A Ghost Writes celebrates undisrupted long distance communication by allowing the word to become flesh.
doesn’t really work without hardware, but the page is there.