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If you are capable, please help us to create good quality subtitles: https://c3subtitles.de/talk/860 Thanks! 1 00:00:14,990 --> 00:00:18,049 So today for you 2 00:00:18,050 --> 00:00:20,209 in this hall in the 3 00:00:20,210 --> 00:00:22,309 early morning will be something 4 00:00:22,310 --> 00:00:24,599 that will make you feel 5 00:00:24,600 --> 00:00:26,049 things about 6 00:00:27,170 --> 00:00:29,359 things that are not 7 00:00:29,360 --> 00:00:31,849 in the in the three dimensional 8 00:00:31,850 --> 00:00:34,159 or six dimensional space that you 9 00:00:34,160 --> 00:00:36,589 see or that you can touch. 10 00:00:36,590 --> 00:00:38,959 But our 11 00:00:38,960 --> 00:00:41,329 first speaker today will tell 12 00:00:41,330 --> 00:00:43,819 you about how to 13 00:00:43,820 --> 00:00:46,309 evoke emotions with 14 00:00:46,310 --> 00:00:49,129 or to kind of 15 00:00:49,130 --> 00:00:51,589 sculpture art from 16 00:00:51,590 --> 00:00:53,959 things that are maybe 17 00:00:53,960 --> 00:00:57,289 not not nothing more than thin air, but 18 00:00:57,290 --> 00:00:59,509 that will nevertheless touch 19 00:00:59,510 --> 00:00:59,689 you. 20 00:00:59,690 --> 00:01:02,359 So first start today is 21 00:01:02,360 --> 00:01:04,969 called visceral systems 22 00:01:04,970 --> 00:01:06,979 approaches to working with sound and 23 00:01:06,980 --> 00:01:09,199 network data transmissions as 24 00:01:09,200 --> 00:01:10,789 a sculptural medium. 25 00:01:10,790 --> 00:01:12,559 And we're talking today. 26 00:01:12,560 --> 00:01:14,689 First talk is Sarah Grant's give a 27 00:01:14,690 --> 00:01:16,099 warm round of applause for Sarah. 28 00:01:23,830 --> 00:01:24,830 Thank you. 29 00:01:32,400 --> 00:01:33,400 So, yeah. Good morning. 30 00:01:34,770 --> 00:01:36,539 Thank you for the introduction. 31 00:01:36,540 --> 00:01:39,169 Thank you for having me here at C.C.C.. 32 00:01:39,170 --> 00:01:40,529 I'm really excited to give this talk. 33 00:01:40,530 --> 00:01:41,530 Actually, it's 34 00:01:43,600 --> 00:01:44,759 something I've been thinking about for a 35 00:01:44,760 --> 00:01:46,829 long time. And I'm I'm happy to 36 00:01:46,830 --> 00:01:48,449 present it to you this morning. 37 00:01:48,450 --> 00:01:50,129 And also thank you for coming here. 38 00:01:50,130 --> 00:01:52,229 I know that eleven thirty is quite 39 00:01:52,230 --> 00:01:55,049 early for a morning at C.C.C.. 40 00:01:55,050 --> 00:01:56,050 So. 41 00:01:57,470 --> 00:01:58,470 So, yeah. 42 00:01:59,670 --> 00:02:01,159 My name is Sarah Grant. 43 00:02:01,160 --> 00:02:03,029 I to me, I'm a media artist and an 44 00:02:03,030 --> 00:02:04,409 educator. 45 00:02:04,410 --> 00:02:07,039 I'm part of the vises, even studio 46 00:02:07,040 --> 00:02:08,550 in in Berlin. 47 00:02:10,350 --> 00:02:13,619 And I'm interested in systems, 48 00:02:13,620 --> 00:02:15,869 radiowaves computer networks 49 00:02:15,870 --> 00:02:17,400 and also sculpture. 50 00:02:19,230 --> 00:02:21,059 I have an arts practice with networking 51 00:02:21,060 --> 00:02:23,219 technology as my medium and 52 00:02:23,220 --> 00:02:25,169 also a teaching practice that works to 53 00:02:25,170 --> 00:02:28,199 promote Internet literacy. 54 00:02:28,200 --> 00:02:30,269 Cracking open this blackbox that 55 00:02:30,270 --> 00:02:32,430 we know of as the cloud, 56 00:02:33,690 --> 00:02:35,009 bringing awareness that there are 57 00:02:35,010 --> 00:02:37,019 alternatives to commercial providers if 58 00:02:37,020 --> 00:02:38,999 we want to exampled simply hosts our own 59 00:02:39,000 --> 00:02:41,599 Web site or run our own 60 00:02:41,600 --> 00:02:44,939 KAT community network. 61 00:02:44,940 --> 00:02:46,799 And I think it's a vital importance to 62 00:02:46,800 --> 00:02:48,329 have a basic understanding of how the 63 00:02:48,330 --> 00:02:50,669 Internet works so that we ourselves 64 00:02:50,670 --> 00:02:52,889 can be creators and not just passive 65 00:02:52,890 --> 00:02:54,809 consumers of the Internet. 66 00:02:54,810 --> 00:02:56,699 And not only that, so that we're equipped 67 00:02:56,700 --> 00:02:58,979 to be critical of it, because it's 68 00:02:58,980 --> 00:03:00,749 you can't really be critical of something 69 00:03:01,830 --> 00:03:03,629 if you don't know how it works or you 70 00:03:03,630 --> 00:03:06,089 don't know what's behind the 71 00:03:06,090 --> 00:03:08,600 the the facade. 72 00:03:09,720 --> 00:03:10,720 So. 73 00:03:11,450 --> 00:03:14,209 Actually, to that point, I also organize 74 00:03:14,210 --> 00:03:15,919 a conference called Radical Networks in 75 00:03:15,920 --> 00:03:17,839 Brooklyn, New York, with my colleague 76 00:03:17,840 --> 00:03:19,309 Erica Kermani. 77 00:03:19,310 --> 00:03:21,469 It's a four day event that has talks, 78 00:03:21,470 --> 00:03:23,779 workshops and an exhibition 79 00:03:23,780 --> 00:03:25,939 featuring critical investigations 80 00:03:25,940 --> 00:03:27,829 and applications of Internet and radio 81 00:03:27,830 --> 00:03:29,059 technology. 82 00:03:29,060 --> 00:03:30,739 So the spirit of the event is to give 83 00:03:30,740 --> 00:03:32,929 beginners and the community a safe 84 00:03:32,930 --> 00:03:35,059 space to come learn about and discuss 85 00:03:35,060 --> 00:03:37,309 issues such as surveillance, 86 00:03:37,310 --> 00:03:39,499 ownership of personal data, and to again 87 00:03:39,500 --> 00:03:41,269 dismantle this opaque notion of the 88 00:03:41,270 --> 00:03:42,270 cloud. 89 00:03:43,190 --> 00:03:45,709 But today, I want to talk about something 90 00:03:45,710 --> 00:03:46,710 pretty abstract, 91 00:03:49,010 --> 00:03:51,079 something that I've spent a long time 92 00:03:51,080 --> 00:03:53,719 thinking about and actually feeling. 93 00:03:53,720 --> 00:03:55,669 But I've only recently started publicly 94 00:03:55,670 --> 00:03:57,889 talking about this idea 95 00:03:57,890 --> 00:04:00,349 of visceral systems as apply 96 00:04:00,350 --> 00:04:02,749 to sound composition 97 00:04:02,750 --> 00:04:05,509 and computer networks and 98 00:04:05,510 --> 00:04:06,949 to sort of impact that. 99 00:04:06,950 --> 00:04:08,869 I want to do it within the following 100 00:04:08,870 --> 00:04:11,029 framework of first giving a bit of 101 00:04:11,030 --> 00:04:12,559 my background and some of my past 102 00:04:12,560 --> 00:04:14,839 influences and also 103 00:04:16,040 --> 00:04:17,719 therefore explaining my my relationship 104 00:04:17,720 --> 00:04:20,269 to sound and networking technology. 105 00:04:21,610 --> 00:04:23,389 But first, I need to 106 00:04:25,040 --> 00:04:27,109 offer some definitions just to lay the 107 00:04:27,110 --> 00:04:28,969 groundwork with the caveat that I'm going 108 00:04:28,970 --> 00:04:30,739 to be bending these definitions quite a 109 00:04:30,740 --> 00:04:31,999 bit. 110 00:04:32,000 --> 00:04:33,050 So the first is 111 00:04:34,910 --> 00:04:36,110 this term visceral 112 00:04:37,400 --> 00:04:40,039 from medicine, that visceral, 113 00:04:40,040 --> 00:04:41,899 referring to the viscera, the internal 114 00:04:41,900 --> 00:04:43,759 organs of the body, specifically those 115 00:04:43,760 --> 00:04:46,549 within the chest as the heart or lungs 116 00:04:46,550 --> 00:04:48,679 or the abdomen as the liver, pancreas 117 00:04:48,680 --> 00:04:49,849 or intestines. 118 00:04:49,850 --> 00:04:51,949 In a figurative sense, something visceral 119 00:04:51,950 --> 00:04:53,149 is felt deep down. 120 00:04:53,150 --> 00:04:54,230 It's a gut feeling. 121 00:04:57,260 --> 00:04:59,359 And then this idea 122 00:04:59,360 --> 00:05:01,459 or the definition of what a system is 123 00:05:01,460 --> 00:05:03,589 from from Oxford, a set 124 00:05:03,590 --> 00:05:06,319 of things working from Oxford Dictionary, 125 00:05:06,320 --> 00:05:08,689 a set of things working together as parts 126 00:05:08,690 --> 00:05:10,369 of a mechanism or an interconnected 127 00:05:10,370 --> 00:05:12,739 network, a complex whole. 128 00:05:12,740 --> 00:05:14,839 So while a visceral system 129 00:05:14,840 --> 00:05:17,869 usually refers to the system of the body, 130 00:05:17,870 --> 00:05:19,579 I'm bending the term to mean a system 131 00:05:19,580 --> 00:05:21,979 which evokes a visceral feeling feelings 132 00:05:21,980 --> 00:05:24,109 of textures, colors, 133 00:05:24,110 --> 00:05:25,839 dimension, mass 134 00:05:26,920 --> 00:05:28,879 to both sound compositions and 135 00:05:28,880 --> 00:05:31,609 communication systems to systems that 136 00:05:31,610 --> 00:05:34,749 I, I actually didn't intentionally, 137 00:05:34,750 --> 00:05:36,919 you know, choose to, you know, to 138 00:05:36,920 --> 00:05:38,329 work with in order to explore these 139 00:05:38,330 --> 00:05:39,349 concepts for more. 140 00:05:39,350 --> 00:05:41,419 I just noticed I felt these things 141 00:05:41,420 --> 00:05:43,159 in relation to these systems, so they 142 00:05:43,160 --> 00:05:44,160 kind of chose me. 143 00:05:46,580 --> 00:05:48,649 So to explain maybe how I 144 00:05:48,650 --> 00:05:50,719 got here, I want to back up 145 00:05:50,720 --> 00:05:52,010 about 30 years. 146 00:05:54,350 --> 00:05:56,389 One of the defining influences in my 147 00:05:56,390 --> 00:05:57,769 life. 148 00:05:57,770 --> 00:06:01,099 If he if any of you recognize these icons 149 00:06:01,100 --> 00:06:02,359 was discovering two software 150 00:06:02,360 --> 00:06:05,029 applications, the one on the left, 151 00:06:05,030 --> 00:06:07,399 four is the icon for resident 152 00:06:07,400 --> 00:06:09,499 or resource editor and 153 00:06:09,500 --> 00:06:11,209 the one on the right is HyperCard. 154 00:06:11,210 --> 00:06:13,069 When I was about 10 years old on my 155 00:06:13,070 --> 00:06:14,479 parents Mac Classic. 156 00:06:17,110 --> 00:06:18,790 Rosette, it is. 157 00:06:19,830 --> 00:06:23,389 A resident is an application 158 00:06:23,390 --> 00:06:25,549 that was used to create an edit 159 00:06:25,550 --> 00:06:27,799 application, resources like icon 160 00:06:27,800 --> 00:06:30,279 bit maps, the shapes of windows, 161 00:06:30,280 --> 00:06:32,149 the definitions of menus and their 162 00:06:32,150 --> 00:06:33,920 contents and the application code. 163 00:06:35,810 --> 00:06:37,969 The first time you know me on my parents 164 00:06:37,970 --> 00:06:40,419 computer was often me, especially 165 00:06:40,420 --> 00:06:42,559 on on the Mac was me just 166 00:06:42,560 --> 00:06:44,959 dragging things around the desktop and 167 00:06:44,960 --> 00:06:47,359 seeing which would, you know, 168 00:06:47,360 --> 00:06:49,339 light up over different applications and 169 00:06:49,340 --> 00:06:51,289 then drop it in seeing what would happen. 170 00:06:51,290 --> 00:06:52,759 And fortunately for them, one of these 171 00:06:52,760 --> 00:06:54,709 applications was Roset It 172 00:06:56,030 --> 00:06:58,939 and which led to many 173 00:06:58,940 --> 00:06:59,719 system crashes. 174 00:06:59,720 --> 00:07:01,459 But anyway, the first time I was able to 175 00:07:01,460 --> 00:07:03,379 open up a piece of software with Red at 176 00:07:03,380 --> 00:07:05,269 it and watch it disassemble into a 177 00:07:05,270 --> 00:07:07,589 collection of icons 178 00:07:07,590 --> 00:07:09,410 and hex code 179 00:07:10,520 --> 00:07:12,829 as whatever as it sounds, made actually 180 00:07:12,830 --> 00:07:16,069 a major impression on me as a child. 181 00:07:16,070 --> 00:07:18,289 I mean, the the code made 182 00:07:18,290 --> 00:07:18,889 no sense to me. 183 00:07:18,890 --> 00:07:20,959 What I saw made no sense to me 184 00:07:20,960 --> 00:07:22,819 at all. I had no idea how to persuade 185 00:07:22,820 --> 00:07:25,429 stumbled into it. 186 00:07:25,430 --> 00:07:26,899 So instead of looking at it rationally as 187 00:07:26,900 --> 00:07:28,849 a computer program, my child's mind 188 00:07:28,850 --> 00:07:29,850 connected to it 189 00:07:31,040 --> 00:07:32,870 visually, viscerally, even. 190 00:07:34,430 --> 00:07:37,489 Instead of software, I noticed 191 00:07:37,490 --> 00:07:39,349 the texture of the black and white 192 00:07:39,350 --> 00:07:40,879 characters. 193 00:07:40,880 --> 00:07:42,979 I noticed the lines and and 194 00:07:42,980 --> 00:07:45,799 the shapes that came forward 195 00:07:45,800 --> 00:07:48,049 out of out of the code. 196 00:07:49,580 --> 00:07:51,859 And, you know, 197 00:07:51,860 --> 00:07:54,139 while I do know what this actually 198 00:07:54,140 --> 00:07:55,909 was, I knew enough. 199 00:07:55,910 --> 00:07:58,129 I knew that it was controlling 200 00:07:58,130 --> 00:08:00,019 what was happening up front in the 201 00:08:00,020 --> 00:08:01,159 interface. 202 00:08:01,160 --> 00:08:03,499 And I felt a huge excitement 203 00:08:03,500 --> 00:08:05,629 at seeing the guts at, you know, seeing 204 00:08:05,630 --> 00:08:07,879 the organs of what I know 205 00:08:07,880 --> 00:08:10,099 of an application of what I previously 206 00:08:10,100 --> 00:08:12,559 previously perceived as a black box 207 00:08:12,560 --> 00:08:14,089 that I was only allowed to take at face 208 00:08:14,090 --> 00:08:15,109 value. 209 00:08:15,110 --> 00:08:17,299 And this sort of gave me this backdoor 210 00:08:17,300 --> 00:08:18,739 into this system, which was really 211 00:08:18,740 --> 00:08:19,740 exciting. 212 00:08:22,390 --> 00:08:25,419 This is a slide 213 00:08:25,420 --> 00:08:27,819 of of the Mondo 2000 214 00:08:27,820 --> 00:08:30,309 card from the Beyond Cyberpunk HyperCard 215 00:08:30,310 --> 00:08:32,739 stack a compendium of cyberpunk 216 00:08:32,740 --> 00:08:34,869 sci fi and guide to cyber culture 217 00:08:34,870 --> 00:08:37,149 that came out in 1990. 218 00:08:37,150 --> 00:08:40,418 So, yeah, HyperCard 219 00:08:40,419 --> 00:08:42,158 is an application that lets you create 220 00:08:42,159 --> 00:08:44,949 stacks of so-called cards containing 221 00:08:44,950 --> 00:08:47,409 text and interactive images, 222 00:08:47,410 --> 00:08:49,929 buttons, text fields and other gooey 223 00:08:49,930 --> 00:08:51,159 elements. 224 00:08:51,160 --> 00:08:52,929 It's considered one of the first 225 00:08:52,930 --> 00:08:54,999 successful hypermedia systems before 226 00:08:55,000 --> 00:08:57,819 the Web and was therefore a precursor 227 00:08:57,820 --> 00:09:00,219 to the Web and had actually a direct 228 00:09:00,220 --> 00:09:02,499 influence on how the first 229 00:09:02,500 --> 00:09:03,580 browser was developed. 230 00:09:06,340 --> 00:09:08,499 Also, because of how it it 231 00:09:08,500 --> 00:09:10,869 allows you to create these nonlinear 232 00:09:10,870 --> 00:09:13,209 narratives, jumping between cards of text 233 00:09:13,210 --> 00:09:14,350 and interactive content. 234 00:09:16,420 --> 00:09:17,649 You know, with the introduction of 235 00:09:17,650 --> 00:09:19,239 hypermedia, really. 236 00:09:19,240 --> 00:09:21,459 And, you know, being 237 00:09:21,460 --> 00:09:24,159 able to move in this non-linear way, 238 00:09:24,160 --> 00:09:26,199 you know, really creates a feeling of 239 00:09:26,200 --> 00:09:28,119 traversing space. 240 00:09:28,120 --> 00:09:30,399 In this case, document space. 241 00:09:30,400 --> 00:09:32,709 And it really added 242 00:09:32,710 --> 00:09:34,749 a dimensionality to what was otherwise a 243 00:09:34,750 --> 00:09:36,849 very flat landscape in digital 244 00:09:36,850 --> 00:09:37,850 media. 245 00:09:41,590 --> 00:09:43,959 So interacting with software 246 00:09:43,960 --> 00:09:46,029 in these ways via these programs, 247 00:09:46,030 --> 00:09:47,709 really sorry to give digital media a 248 00:09:47,710 --> 00:09:49,989 shape and a form in my mind is something 249 00:09:49,990 --> 00:09:52,359 more than you 250 00:09:52,360 --> 00:09:54,999 just look at on a screen. 251 00:09:55,000 --> 00:09:56,980 And, you know, as a static thing. 252 00:09:58,450 --> 00:10:00,389 But it's something that, you know, that 253 00:10:00,390 --> 00:10:02,859 had guts, that had dimension, that had 254 00:10:02,860 --> 00:10:05,319 physical, well, physical ish 255 00:10:05,320 --> 00:10:06,320 properties. 256 00:10:07,330 --> 00:10:09,549 And it really established the synesthetic 257 00:10:09,550 --> 00:10:11,649 relationship that I would continue 258 00:10:11,650 --> 00:10:13,210 to have with media. 259 00:10:15,640 --> 00:10:17,289 So I want to talk about sound for a 260 00:10:17,290 --> 00:10:18,129 minute. 261 00:10:18,130 --> 00:10:20,259 A great, huge inspiration for me 262 00:10:20,260 --> 00:10:21,260 is Edgar 263 00:10:23,350 --> 00:10:25,449 Vares and his idea of 264 00:10:25,450 --> 00:10:26,450 sound objects 265 00:10:27,670 --> 00:10:29,799 that sound occupies space as 266 00:10:29,800 --> 00:10:31,869 form and with mass 267 00:10:31,870 --> 00:10:34,959 for as was a French born composer, 268 00:10:34,960 --> 00:10:37,029 spent a lot of time in Paris and in 269 00:10:37,030 --> 00:10:39,269 the States and working 270 00:10:39,270 --> 00:10:41,259 in the first half of the 20th century. 271 00:10:41,260 --> 00:10:43,329 And and he's 272 00:10:43,330 --> 00:10:45,549 known for conceiving of music 273 00:10:45,550 --> 00:10:47,769 as, quote, sound as living 274 00:10:47,770 --> 00:10:50,019 matter with the elements 275 00:10:50,020 --> 00:10:52,159 in his music as sound masses organize 276 00:10:52,160 --> 00:10:53,589 his crystalline structures. 277 00:10:53,590 --> 00:10:55,840 So he, you know as well, had this. 278 00:10:57,600 --> 00:10:58,949 This relationship to sour wasn't just 279 00:10:58,950 --> 00:11:01,379 something that he heard, but it was 280 00:11:01,380 --> 00:11:03,509 something that had wait, you know, that 281 00:11:03,510 --> 00:11:06,209 had visceral properties about it. 282 00:11:06,210 --> 00:11:08,459 And he has this 283 00:11:08,460 --> 00:11:10,559 quote that, well, this is nice quote, 284 00:11:10,560 --> 00:11:12,749 but it's his quote is 285 00:11:12,750 --> 00:11:14,819 When I was about 20, I came across 286 00:11:14,820 --> 00:11:16,649 a definition in music that seemed 287 00:11:16,650 --> 00:11:19,439 suddenly to throw light on my gropings 288 00:11:19,440 --> 00:11:21,779 towards music I sensed could exist. 289 00:11:23,250 --> 00:11:25,399 Yoseph Maria 290 00:11:25,400 --> 00:11:28,529 Huna Bronsky, the Polish physicist, 291 00:11:28,530 --> 00:11:30,689 chemist, neaten musicologist 292 00:11:30,690 --> 00:11:32,129 and philosopher of the first half of the 293 00:11:32,130 --> 00:11:34,349 19th century, defined music 294 00:11:34,350 --> 00:11:36,709 as this as the corporate corporeal. 295 00:11:36,710 --> 00:11:38,789 As I pour realization of the 296 00:11:38,790 --> 00:11:41,839 intelligence that is in sounds 297 00:11:41,840 --> 00:11:44,039 so giving giving body 298 00:11:44,040 --> 00:11:46,139 to the life that's in 299 00:11:46,140 --> 00:11:47,140 sounds. 300 00:11:47,820 --> 00:11:49,969 It was a new and exciting conception 301 00:11:49,970 --> 00:11:52,319 and and to me is still 302 00:11:52,320 --> 00:11:53,819 for us speaking. 303 00:11:53,820 --> 00:11:55,499 And to me, the first that started me 304 00:11:55,500 --> 00:11:57,869 thinking about music is spatial as moving 305 00:11:57,870 --> 00:12:00,119 bodies of sound in space conception. 306 00:12:00,120 --> 00:12:01,379 I gradually made my own. 307 00:12:02,530 --> 00:12:03,530 So. 308 00:12:05,480 --> 00:12:06,829 Having learned about him and reading 309 00:12:06,830 --> 00:12:08,149 about all this stuff and getting really 310 00:12:08,150 --> 00:12:10,549 excited that I came across 311 00:12:10,550 --> 00:12:12,529 someone else who had this this 312 00:12:12,530 --> 00:12:15,049 relationship to this normally intangible 313 00:12:15,050 --> 00:12:17,419 stuff really encouraged me 314 00:12:17,420 --> 00:12:18,529 to to develop 315 00:12:20,210 --> 00:12:21,469 this project called Felt the Signal 316 00:12:21,470 --> 00:12:23,659 Processing or FSP for short. 317 00:12:25,160 --> 00:12:26,749 Something I worked on for a number of 318 00:12:26,750 --> 00:12:28,819 years, actually, with my sister, Larry 319 00:12:28,820 --> 00:12:30,229 Grant, who continues to work as a 320 00:12:30,230 --> 00:12:32,539 wearable electronics and textile designer 321 00:12:32,540 --> 00:12:33,540 in San Francisco. 322 00:12:34,760 --> 00:12:36,769 So together we developed conductive soft 323 00:12:36,770 --> 00:12:39,169 interfaces out of regular wool 324 00:12:39,170 --> 00:12:41,859 and metal wools, combining them together 325 00:12:41,860 --> 00:12:44,209 to work as components in guitar 326 00:12:44,210 --> 00:12:46,789 and guitar pedals since and homegrown 327 00:12:46,790 --> 00:12:47,790 sound circuits. 328 00:12:49,820 --> 00:12:52,000 And yeah, here's a picture. 329 00:12:54,040 --> 00:12:56,319 So my goal with FSP 330 00:12:56,320 --> 00:12:57,519 was to take something else, I had a 331 00:12:57,520 --> 00:12:59,919 visceral connection to 332 00:12:59,920 --> 00:13:02,799 sound and try to create an 333 00:13:02,800 --> 00:13:04,359 emotional connection to it through an 334 00:13:04,360 --> 00:13:06,489 interface that I thought was closer to 335 00:13:06,490 --> 00:13:08,319 the texture of the sounds as I 336 00:13:08,320 --> 00:13:10,899 experienced them, than the hard, discrete 337 00:13:10,900 --> 00:13:12,759 knobs, sliders and buttons. 338 00:13:12,760 --> 00:13:14,710 So in this image, it's it's. 339 00:13:15,850 --> 00:13:18,009 Well, it's a sheet of wool 340 00:13:18,010 --> 00:13:20,649 containing an 341 00:13:20,650 --> 00:13:23,249 effects pedal that I built. 342 00:13:23,250 --> 00:13:24,250 And. 343 00:13:25,720 --> 00:13:28,269 And there's these these felted components 344 00:13:28,270 --> 00:13:30,460 that are integrated into the circuit. 345 00:13:31,630 --> 00:13:32,630 The. 346 00:13:35,170 --> 00:13:37,589 Via these snaps that 347 00:13:37,590 --> 00:13:39,719 I attached. 348 00:13:39,720 --> 00:13:41,699 I mean, I well, they're they're just 349 00:13:41,700 --> 00:13:43,139 Gromit's. 350 00:13:43,140 --> 00:13:44,999 Well, snaps that eyebrow minted into this 351 00:13:45,000 --> 00:13:47,039 conductive felt that I made. 352 00:13:48,540 --> 00:13:50,160 And it becomes a variable 353 00:13:51,510 --> 00:13:52,510 resistor. 354 00:13:54,330 --> 00:13:57,029 Also, a backup ups that 355 00:13:57,030 --> 00:13:58,030 so 356 00:13:59,130 --> 00:14:01,259 there there there is a wire that snake 357 00:14:01,260 --> 00:14:04,169 through through the raw material 358 00:14:04,170 --> 00:14:05,459 that is felt it up. 359 00:14:05,460 --> 00:14:08,189 Then I attached the snap 360 00:14:08,190 --> 00:14:09,689 and then I have something that I can 361 00:14:09,690 --> 00:14:12,449 Sadr. A wire tune Sadr directly 362 00:14:12,450 --> 00:14:15,149 into into the circuit, 363 00:14:15,150 --> 00:14:17,519 into the the PCV of the 364 00:14:17,520 --> 00:14:19,589 effects pedal. So it becomes part 365 00:14:19,590 --> 00:14:20,279 of the circuit. 366 00:14:20,280 --> 00:14:22,559 The signal is traveling through 367 00:14:22,560 --> 00:14:24,839 this felt and as you 368 00:14:24,840 --> 00:14:26,399 nippy plated with your hands, you're 369 00:14:26,400 --> 00:14:28,139 changing the resistance of it, which is 370 00:14:28,140 --> 00:14:30,239 the same as turning a knob 371 00:14:30,240 --> 00:14:31,799 or a slider. 372 00:14:31,800 --> 00:14:33,329 You're shaping you're actually shaping a 373 00:14:33,330 --> 00:14:34,789 sound with your hands. 374 00:14:34,790 --> 00:14:35,790 And 375 00:14:36,960 --> 00:14:39,689 yeah, we we made 376 00:14:39,690 --> 00:14:42,059 several strange things. 377 00:14:42,060 --> 00:14:44,129 This was the beginnings 378 00:14:44,130 --> 00:14:46,649 of a strange synthesizer. 379 00:14:46,650 --> 00:14:49,649 This was the interface for it with 380 00:14:49,650 --> 00:14:51,989 with all these intestine like tentacles, 381 00:14:51,990 --> 00:14:52,990 each of which 382 00:14:54,480 --> 00:14:56,579 had a core of of conductive 383 00:14:56,580 --> 00:14:59,009 wool and terminated 384 00:14:59,010 --> 00:15:01,709 in a snap on 385 00:15:01,710 --> 00:15:03,869 on one end and would 386 00:15:03,870 --> 00:15:04,870 connect. 387 00:15:06,000 --> 00:15:08,279 That's a shot of of the 388 00:15:08,280 --> 00:15:09,929 of the conductive wool down the center of 389 00:15:09,930 --> 00:15:10,619 it. 390 00:15:10,620 --> 00:15:13,079 But these snaps would then connect 391 00:15:13,080 --> 00:15:14,520 to the other piece 392 00:15:17,160 --> 00:15:19,829 and create, you know, a a connection 393 00:15:19,830 --> 00:15:21,179 in these circuits. 394 00:15:22,290 --> 00:15:24,899 And then as you pulled the 395 00:15:24,900 --> 00:15:27,690 the the the tentacle. 396 00:15:28,880 --> 00:15:30,969 Again, it was creating this, the 397 00:15:30,970 --> 00:15:32,839 stretching action, which was changing the 398 00:15:32,840 --> 00:15:34,429 resistance and shaping the sound that was 399 00:15:34,430 --> 00:15:35,430 moving through it. 400 00:15:36,170 --> 00:15:37,170 So. 401 00:15:38,600 --> 00:15:40,129 Another piece I did was called House 402 00:15:40,130 --> 00:15:41,239 AFAM. 403 00:15:41,240 --> 00:15:43,159 I did it in collaboration with a very 404 00:15:43,160 --> 00:15:45,049 good friend of mine and sound designer 405 00:15:45,050 --> 00:15:46,050 Helen Tang. 406 00:15:46,970 --> 00:15:48,739 It was an onsite installation consisting 407 00:15:48,740 --> 00:15:50,749 of multiple raspberry pies. 408 00:15:50,750 --> 00:15:52,999 Brock has seen a unique soundscape over 409 00:15:53,000 --> 00:15:55,189 a shared FMD channel, 410 00:15:55,190 --> 00:15:58,099 which was set to ninety point one F.M.. 411 00:15:58,100 --> 00:16:00,079 So it was broadcasting off of the spin 412 00:16:00,080 --> 00:16:02,210 off off the pie in 413 00:16:03,890 --> 00:16:05,959 on the same frequency. 414 00:16:05,960 --> 00:16:07,849 Six of these devices throughout the 415 00:16:07,850 --> 00:16:09,259 house. 416 00:16:09,260 --> 00:16:10,699 And as participants move throughout the 417 00:16:10,700 --> 00:16:12,679 House, Rune F.M. radio enabled 418 00:16:12,680 --> 00:16:14,479 headphones. The audible signal from each 419 00:16:14,480 --> 00:16:16,579 pie would fade in and 420 00:16:16,580 --> 00:16:18,049 out as a moved towards and away from 421 00:16:18,050 --> 00:16:20,419 stations. So in this piece, I was 422 00:16:20,420 --> 00:16:22,669 experimenting more with dimensionality, 423 00:16:22,670 --> 00:16:24,769 you know, with like creating these 424 00:16:24,770 --> 00:16:25,970 sound spaces. 425 00:16:27,830 --> 00:16:29,809 It was also an experiment in trying to 426 00:16:29,810 --> 00:16:32,059 pull color and texture 427 00:16:32,060 --> 00:16:34,429 out of the corners of 428 00:16:34,430 --> 00:16:36,409 the house, out of the feeling, out of the 429 00:16:36,410 --> 00:16:38,479 feelings of the corners of the house in 430 00:16:38,480 --> 00:16:39,799 which the piece was installed. 431 00:16:39,800 --> 00:16:41,779 Giving a voice in a body to each of these 432 00:16:41,780 --> 00:16:44,239 areas as expressed in the sounds designed 433 00:16:44,240 --> 00:16:45,240 by Helen. 434 00:16:46,850 --> 00:16:48,919 So earlier I say that 435 00:16:48,920 --> 00:16:50,449 my goal was to take something that I had 436 00:16:50,450 --> 00:16:52,879 a visceral connection to sound 437 00:16:52,880 --> 00:16:54,529 and to try to create an emotional 438 00:16:54,530 --> 00:16:56,779 connection to it through an interface 439 00:16:56,780 --> 00:16:58,339 that I thought was closer to the texture 440 00:16:58,340 --> 00:17:00,889 of sound as I experienced them myself. 441 00:17:00,890 --> 00:17:02,989 But this goal as well extends to 442 00:17:02,990 --> 00:17:04,729 my relationship to computer networks. 443 00:17:06,170 --> 00:17:07,909 I mean, having a visceral relationship to 444 00:17:07,910 --> 00:17:11,328 music and art is 445 00:17:11,329 --> 00:17:13,309 more or less understandable. 446 00:17:13,310 --> 00:17:15,019 I think a lot of people do. 447 00:17:15,020 --> 00:17:17,088 But having one, two, two computer 448 00:17:17,089 --> 00:17:18,858 networks is a little less obvious. 449 00:17:18,859 --> 00:17:21,169 And it's something that I, you know, 450 00:17:21,170 --> 00:17:23,299 have been really struggling to sort of 451 00:17:23,300 --> 00:17:25,519 define for myself what that means. 452 00:17:26,710 --> 00:17:28,699 But for whatever reason, though, I am 453 00:17:28,700 --> 00:17:30,169 compelled to situate networking in the 454 00:17:30,170 --> 00:17:32,569 context of sculpture to design tactile 455 00:17:32,570 --> 00:17:35,359 net network systems and to reference 456 00:17:35,360 --> 00:17:37,459 for four resine 457 00:17:37,460 --> 00:17:39,169 to consider networks or the signals 458 00:17:39,170 --> 00:17:40,699 moving over the networks as living 459 00:17:40,700 --> 00:17:41,599 matter. 460 00:17:41,600 --> 00:17:43,519 But I need a framework to help guide my 461 00:17:43,520 --> 00:17:45,170 experiments and explorations. 462 00:17:46,290 --> 00:17:48,429 And I think that framework 463 00:17:48,430 --> 00:17:50,559 where I'm at with it now, because this is 464 00:17:50,560 --> 00:17:53,079 really an ongoing research project, 465 00:17:53,080 --> 00:17:55,119 is this modified version of Harold Lah's 466 00:17:55,120 --> 00:17:57,369 Wells model 467 00:17:57,370 --> 00:17:59,199 of communication as a template for my 468 00:17:59,200 --> 00:18:00,909 thinking going forward. 469 00:18:00,910 --> 00:18:03,079 As I as well, to quote 470 00:18:03,080 --> 00:18:05,319 Firaz, grope my way towards 471 00:18:05,320 --> 00:18:07,569 the sculpture I sense could exist. 472 00:18:08,710 --> 00:18:10,449 So according to Laswell, this phrase is 473 00:18:10,450 --> 00:18:12,749 designed to describe an active 474 00:18:12,750 --> 00:18:14,109 of communication. 475 00:18:14,110 --> 00:18:16,809 It asks who says what? 476 00:18:16,810 --> 00:18:19,029 In which channel, to whom and with what 477 00:18:19,030 --> 00:18:20,030 effect. 478 00:18:21,150 --> 00:18:23,969 So in the context of sculpture 479 00:18:23,970 --> 00:18:26,639 or art, the who. 480 00:18:26,640 --> 00:18:28,229 And to whom are straightforward to 481 00:18:28,230 --> 00:18:29,159 answer. 482 00:18:29,160 --> 00:18:31,309 These are the artist and audience. 483 00:18:33,810 --> 00:18:36,209 Which channel refers to 484 00:18:36,210 --> 00:18:38,249 the medium felt? 485 00:18:38,250 --> 00:18:39,449 Is it slime mold? 486 00:18:39,450 --> 00:18:41,219 Is it cement? Is it paper? 487 00:18:41,220 --> 00:18:42,659 You know, what is the physical medium 488 00:18:42,660 --> 00:18:44,079 that we that we. 489 00:18:44,080 --> 00:18:47,039 That will be used to link the intangible 490 00:18:47,040 --> 00:18:49,439 to something that can be physically 491 00:18:49,440 --> 00:18:50,880 engaged with or sensed. 492 00:18:53,120 --> 00:18:55,669 So and then says what? 493 00:18:55,670 --> 00:18:57,139 I mean, this is the message that the 494 00:18:57,140 --> 00:18:59,389 artist is trying to impart 495 00:18:59,390 --> 00:19:02,119 from their piece to me personally, 496 00:19:02,120 --> 00:19:04,219 so far, in my experience, the what is 497 00:19:04,220 --> 00:19:06,559 wanting to give the intangible a physical 498 00:19:06,560 --> 00:19:08,689 presence, like a real world 499 00:19:08,690 --> 00:19:10,819 avatar, something that can be 500 00:19:10,820 --> 00:19:11,820 engaged with. 501 00:19:14,750 --> 00:19:17,089 And finally, with what effect 502 00:19:17,090 --> 00:19:19,279 this is, this is the feedback from 503 00:19:19,280 --> 00:19:21,109 the audience. This is how does it affect 504 00:19:21,110 --> 00:19:23,689 the people who you know, 505 00:19:23,690 --> 00:19:25,669 the who you know, who are looking at this 506 00:19:25,670 --> 00:19:27,469 and experiencing this? 507 00:19:27,470 --> 00:19:29,089 How will it make the viewer feel? 508 00:19:30,710 --> 00:19:31,639 For me, I. 509 00:19:31,640 --> 00:19:32,780 I hope it will impart 510 00:19:34,040 --> 00:19:35,040 again 511 00:19:36,230 --> 00:19:37,459 a sense of awareness. 512 00:19:37,460 --> 00:19:39,649 You know, that that that 513 00:19:39,650 --> 00:19:41,869 that that that these sounds, that these 514 00:19:41,870 --> 00:19:44,119 data transmissions that that they exist 515 00:19:44,120 --> 00:19:46,099 in this in the space that we're in, that 516 00:19:46,100 --> 00:19:47,749 that that they have a forum even if we 517 00:19:47,750 --> 00:19:48,750 can't see it. 518 00:19:51,860 --> 00:19:54,319 So I wanted to just show a few 519 00:19:54,320 --> 00:19:57,069 experiments I've been doing with 520 00:19:57,070 --> 00:19:59,239 with some of the networking stuff. 521 00:19:59,240 --> 00:20:00,739 One of the first ones involves a slime 522 00:20:00,740 --> 00:20:03,919 mold called Physarum Policy Fullam. 523 00:20:03,920 --> 00:20:06,229 It's a single cell 524 00:20:07,250 --> 00:20:09,379 amoeba slash fungus like 525 00:20:09,380 --> 00:20:10,789 creature says about you. 526 00:20:10,790 --> 00:20:12,679 2010 has been the focus of interesting 527 00:20:12,680 --> 00:20:15,139 research that has taken note of the fact 528 00:20:15,140 --> 00:20:17,269 that for being such a simple creature, 529 00:20:17,270 --> 00:20:19,459 it tends to display complex 530 00:20:19,460 --> 00:20:22,099 and indeed sophisticated behavior. 531 00:20:23,140 --> 00:20:24,589 And it's been used to model various 532 00:20:24,590 --> 00:20:26,719 systems from transportation networks 533 00:20:26,720 --> 00:20:28,579 to how blood vessels form. 534 00:20:28,580 --> 00:20:30,529 It's also particularly noted for its 535 00:20:30,530 --> 00:20:32,059 ability to quickly find the most 536 00:20:32,060 --> 00:20:33,799 efficient path between food sources 537 00:20:33,800 --> 00:20:35,339 creating efficient transport 538 00:20:35,340 --> 00:20:38,209 interconnections networks 539 00:20:38,210 --> 00:20:40,409 for ferrying nutrients from 540 00:20:40,410 --> 00:20:42,199 in this photo. These are oat flakes, 541 00:20:42,200 --> 00:20:44,359 which is one of their favorite foods. 542 00:20:44,360 --> 00:20:46,429 It's basically a decentralized, adaptable 543 00:20:46,430 --> 00:20:48,469 network that is able to change a response 544 00:20:48,470 --> 00:20:50,239 to a changing environment. 545 00:20:50,240 --> 00:20:52,489 And you can clearly see here even how 546 00:20:52,490 --> 00:20:55,309 it starts to take the shape of 547 00:20:55,310 --> 00:20:57,469 of of a computer 548 00:20:57,470 --> 00:20:59,570 network or as as the Internet. 549 00:21:03,620 --> 00:21:05,779 In this particular experiment, 550 00:21:05,780 --> 00:21:06,780 I was actually 551 00:21:07,890 --> 00:21:10,099 seeing if I could find 552 00:21:10,100 --> 00:21:11,330 a way to color code. 553 00:21:13,760 --> 00:21:15,859 Data, if you will, that 554 00:21:15,860 --> 00:21:17,179 moves through the. 555 00:21:17,180 --> 00:21:19,039 The Plasmodium network. 556 00:21:19,040 --> 00:21:20,040 So that. 557 00:21:21,270 --> 00:21:22,270 So 558 00:21:23,450 --> 00:21:25,519 as the slime mold ingests food, it breaks 559 00:21:25,520 --> 00:21:27,499 it down and then streams it through these 560 00:21:27,500 --> 00:21:28,619 tubes. 561 00:21:28,620 --> 00:21:30,759 And it moves in this tidal fashion or 562 00:21:30,760 --> 00:21:32,689 moves forward and then comes back then 563 00:21:32,690 --> 00:21:34,999 and forward and back a bit. 564 00:21:35,000 --> 00:21:37,669 It's how it moves, actually. 565 00:21:37,670 --> 00:21:39,109 So I wanted to see if I could create 566 00:21:39,110 --> 00:21:41,599 color coded tags, 567 00:21:41,600 --> 00:21:44,239 you know, like trace, trace, something, 568 00:21:44,240 --> 00:21:45,979 a piece of food moving through the 569 00:21:45,980 --> 00:21:46,879 network. 570 00:21:46,880 --> 00:21:47,880 By color. 571 00:21:50,180 --> 00:21:52,219 Hoping that if I could somehow create 572 00:21:52,220 --> 00:21:54,919 like a a 573 00:21:54,920 --> 00:21:55,920 a data network 574 00:21:58,270 --> 00:22:00,079 or data packets that were moving through 575 00:22:00,080 --> 00:22:02,509 this slime mold and 576 00:22:02,510 --> 00:22:04,639 and and and know where it had been based 577 00:22:04,640 --> 00:22:05,779 on the color that it was. 578 00:22:05,780 --> 00:22:07,939 Because so in this picture different 579 00:22:07,940 --> 00:22:10,429 OT's I know you see yellow, 580 00:22:10,430 --> 00:22:12,719 red and blue. I use primary colors. 581 00:22:12,720 --> 00:22:14,779 Today the OT's hoping that as 582 00:22:14,780 --> 00:22:16,729 they ingested the oats and we break it 583 00:22:16,730 --> 00:22:18,889 down as as different notes from 584 00:22:18,890 --> 00:22:21,379 different parts of the petri dish mixed, 585 00:22:21,380 --> 00:22:23,329 they would also be a color mixer. 586 00:22:23,330 --> 00:22:25,639 They, I could see oh this over here, 587 00:22:25,640 --> 00:22:27,739 it's green. So I guess you know 588 00:22:27,740 --> 00:22:29,869 this, this pass through the, 589 00:22:29,870 --> 00:22:31,539 the blue and yellow node. 590 00:22:32,590 --> 00:22:34,909 Anyway they said highly experimental. 591 00:22:34,910 --> 00:22:37,189 It's still something that I'm working on 592 00:22:37,190 --> 00:22:38,869 perfecting. I haven't quite got yet. 593 00:22:40,880 --> 00:22:42,079 Another thing I want to talk about real 594 00:22:42,080 --> 00:22:44,149 fast was Q AFAM stands for 595 00:22:44,150 --> 00:22:45,109 Cubed AFAM. 596 00:22:45,110 --> 00:22:46,849 It's a collection of ETHEM transceivers 597 00:22:46,850 --> 00:22:49,399 embedded in casts simit cubes 598 00:22:49,400 --> 00:22:50,779 worked on in collaboration with my 599 00:22:50,780 --> 00:22:53,059 partner Donya Cecilia. 600 00:22:53,060 --> 00:22:54,739 Together, they form a network of many 601 00:22:54,740 --> 00:22:56,809 radio devices for modeling network 602 00:22:56,810 --> 00:22:59,119 topologies and travel 603 00:22:59,120 --> 00:23:01,219 patts of data from one device to 604 00:23:01,220 --> 00:23:02,029 each other. 605 00:23:02,030 --> 00:23:04,099 So I mean, this is a single 606 00:23:04,100 --> 00:23:05,299 one, but they're designed to actually 607 00:23:05,300 --> 00:23:07,219 work as a group and they're just sending 608 00:23:07,220 --> 00:23:08,220 out a simple 609 00:23:09,590 --> 00:23:11,049 Morse code signal. 610 00:23:11,050 --> 00:23:13,289 And and and 611 00:23:13,290 --> 00:23:14,929 no one sends a pulse. 612 00:23:14,930 --> 00:23:17,059 And whoever whichever one's nearby 613 00:23:17,060 --> 00:23:19,129 here, the polls pick it up 614 00:23:19,130 --> 00:23:21,259 and blink and LHD to show that they've 615 00:23:21,260 --> 00:23:23,189 received it. And it's really just a 616 00:23:23,190 --> 00:23:25,309 super, super simple way to 617 00:23:25,310 --> 00:23:27,619 show data propagation through 618 00:23:27,620 --> 00:23:29,720 a network. And this was actually designed 619 00:23:30,890 --> 00:23:32,989 as well to be used as a teaching tool, 620 00:23:32,990 --> 00:23:35,149 which is something that me and also Donya 621 00:23:35,150 --> 00:23:37,429 do quite a lot, is teach workshops 622 00:23:37,430 --> 00:23:39,709 to help explain how networking technology 623 00:23:39,710 --> 00:23:40,710 works. So. 624 00:23:42,980 --> 00:23:45,499 But it was also a way to just sort of see 625 00:23:45,500 --> 00:23:47,989 and appreciate how information 626 00:23:47,990 --> 00:23:49,399 travels through space. 627 00:23:49,400 --> 00:23:51,679 Again, giving the sense of dimensionality 628 00:23:51,680 --> 00:23:53,899 to things and that though we can't 629 00:23:53,900 --> 00:23:56,179 see what's in the air around 630 00:23:56,180 --> 00:23:58,249 us, it's still there, you know, and 631 00:23:58,250 --> 00:23:59,250 we're situated in it. 632 00:24:01,200 --> 00:24:03,409 So, yeah, I mean, some 633 00:24:03,410 --> 00:24:05,269 of the stuff I know is super abstract, 634 00:24:05,270 --> 00:24:06,439 even for me. 635 00:24:06,440 --> 00:24:08,539 And I'm often asking myself why, you 636 00:24:08,540 --> 00:24:10,459 know, I got it. What what is this? 637 00:24:10,460 --> 00:24:12,559 You know, and, you know, one of 638 00:24:12,560 --> 00:24:13,789 the greatest challenges of working with 639 00:24:13,790 --> 00:24:15,799 networks as an artistic medium or using 640 00:24:15,800 --> 00:24:17,449 networks has material to use. 641 00:24:17,450 --> 00:24:19,669 A phrase coined by my studio mate, 642 00:24:19,670 --> 00:24:21,829 Julian Oliver is the fact that 643 00:24:21,830 --> 00:24:23,119 computer networks aren't inherently 644 00:24:23,120 --> 00:24:24,409 tactile. 645 00:24:24,410 --> 00:24:26,389 You can't see them or taste them or smell 646 00:24:26,390 --> 00:24:27,469 them or feel them. 647 00:24:27,470 --> 00:24:29,779 So how do you create works that engage an 648 00:24:29,780 --> 00:24:31,609 audience out of computer networks 649 00:24:33,020 --> 00:24:34,189 if they can experience it with their 650 00:24:34,190 --> 00:24:35,389 senses? 651 00:24:35,390 --> 00:24:37,099 Does a person fully even appreciate 652 00:24:37,100 --> 00:24:38,719 what's happening over a computer network 653 00:24:38,720 --> 00:24:40,249 if they can't experience it with their 654 00:24:40,250 --> 00:24:41,250 senses? 655 00:24:43,790 --> 00:24:44,809 And, you know, I think it's about 656 00:24:44,810 --> 00:24:46,399 changing our relationship to something 657 00:24:46,400 --> 00:24:48,499 that is usually considered purely a 658 00:24:48,500 --> 00:24:49,549 utility. 659 00:24:49,550 --> 00:24:50,659 You know, networking is a very 660 00:24:50,660 --> 00:24:51,619 utilitarian thing. 661 00:24:51,620 --> 00:24:54,199 It's about moving messages over 662 00:24:54,200 --> 00:24:56,479 from point A to point B, but. 663 00:24:56,480 --> 00:24:58,639 But is it interesting 664 00:24:58,640 --> 00:25:00,859 to look at how networking 665 00:25:00,860 --> 00:25:02,659 can manifest itself in other contexts, 666 00:25:02,660 --> 00:25:04,999 like in the case of the slimeballs, 667 00:25:05,000 --> 00:25:06,529 you know, where it can parallels be 668 00:25:06,530 --> 00:25:08,629 found? And is there meaning to 669 00:25:08,630 --> 00:25:11,269 that? And and by giving something 670 00:25:11,270 --> 00:25:13,369 a tangible form, will it make us think 671 00:25:13,370 --> 00:25:15,199 about it more? Or think about more like 672 00:25:15,200 --> 00:25:17,329 what happens over those invisible tubes? 673 00:25:18,980 --> 00:25:20,479 So, yeah, you know, the thoughts 674 00:25:20,480 --> 00:25:22,699 presented here are, like I said, are very 675 00:25:22,700 --> 00:25:24,319 experimental and open to discussion. 676 00:25:24,320 --> 00:25:26,209 And and this has evoked any thoughts or 677 00:25:26,210 --> 00:25:28,309 questions in you. 678 00:25:28,310 --> 00:25:30,469 I would love to hear what you had to say. 679 00:25:30,470 --> 00:25:31,470 Thank you. 680 00:25:39,700 --> 00:25:42,459 Yes. Thank you, Sarah, for your talk. 681 00:25:42,460 --> 00:25:43,999 We have time for some questions. 682 00:25:44,000 --> 00:25:46,119 So we have four microphones in the 683 00:25:46,120 --> 00:25:48,509 room. One, two, three 684 00:25:48,510 --> 00:25:51,069 and four. So if you have any questions, 685 00:25:51,070 --> 00:25:53,739 you can just walk up to microphone 686 00:25:53,740 --> 00:25:54,970 and ask your question. 687 00:25:56,260 --> 00:25:58,119 Or in the meantime, if we don't. 688 00:25:59,430 --> 00:26:00,779 Have any questions for me? 689 00:26:00,780 --> 00:26:01,780 So. 690 00:26:02,950 --> 00:26:03,849 First question. 691 00:26:03,850 --> 00:26:05,769 Microphone one either. 692 00:26:05,770 --> 00:26:08,259 Thank you for the talk. Very interesting. 693 00:26:08,260 --> 00:26:09,909 Can we use some of those sounds that you 694 00:26:09,910 --> 00:26:10,959 made with the pedals? 695 00:26:12,790 --> 00:26:14,799 Yeah, I've all you know, I actually did. 696 00:26:14,800 --> 00:26:16,089 I do have a video. 697 00:26:16,090 --> 00:26:17,439 I. 698 00:26:17,440 --> 00:26:19,599 Well, I don't know if you have time 699 00:26:19,600 --> 00:26:21,699 for me. I'd have to, like, dig it up. 700 00:26:21,700 --> 00:26:23,289 Maybe you can find me afterwards and I 701 00:26:23,290 --> 00:26:24,829 can play for you. 702 00:26:24,830 --> 00:26:26,529 Well, we'll be fine. 703 00:26:26,530 --> 00:26:28,630 Okay. Well let me see if I can find. 704 00:26:33,030 --> 00:26:35,339 So in the meantime, maybe this 705 00:26:35,340 --> 00:26:37,619 one question from the Internet. 706 00:26:37,620 --> 00:26:40,049 The question is regarding the Rule-based 707 00:26:40,050 --> 00:26:41,129 ethics panel. 708 00:26:41,130 --> 00:26:43,309 Uh, have you performed live on stage? 709 00:26:43,310 --> 00:26:45,239 And, uh, does it work like a musical 710 00:26:45,240 --> 00:26:46,240 instrument? 711 00:26:49,100 --> 00:26:51,229 Yeah, actually, I well, you know, 712 00:26:51,230 --> 00:26:53,449 I never performed it live on on stage, 713 00:26:53,450 --> 00:26:55,459 I it just didn't happen. 714 00:26:55,460 --> 00:26:57,379 But I would perform to myself in my 715 00:26:57,380 --> 00:26:59,029 bedroom and. 716 00:26:59,030 --> 00:27:01,219 And, yeah, I mean, I, I used 717 00:27:01,220 --> 00:27:03,319 it actually to process 718 00:27:03,320 --> 00:27:04,929 my voice. 719 00:27:04,930 --> 00:27:06,519 So. 720 00:27:06,520 --> 00:27:08,509 So there, you know, there's a microphone. 721 00:27:08,510 --> 00:27:10,849 I was singing into it and 722 00:27:10,850 --> 00:27:13,099 running it through the the effects pedal. 723 00:27:13,100 --> 00:27:15,140 And you know, when people sing, 724 00:27:16,250 --> 00:27:18,379 you know, it's a full body thing. 725 00:27:18,380 --> 00:27:20,419 Sometimes it's like you're using you're 726 00:27:20,420 --> 00:27:23,129 moving with your body, your hands. 727 00:27:23,130 --> 00:27:25,189 And and it felt really nice 728 00:27:25,190 --> 00:27:27,349 to have this like this felt 729 00:27:27,350 --> 00:27:29,569 this like this this warm, 730 00:27:29,570 --> 00:27:31,490 comforting felt in my hand that I was, 731 00:27:32,540 --> 00:27:34,309 as I was singing as well, shaping my 732 00:27:34,310 --> 00:27:36,439 voice almost as though it were an 733 00:27:36,440 --> 00:27:37,609 accordion. 734 00:27:37,610 --> 00:27:39,259 Unfortunately, no video documentation of 735 00:27:39,260 --> 00:27:40,339 that. 736 00:27:40,340 --> 00:27:41,340 But. 737 00:27:51,280 --> 00:27:53,169 Yeah, yeah, a little break to to to to 738 00:27:53,170 --> 00:27:54,930 let you to let you search for the video. 739 00:28:02,180 --> 00:28:03,539 Yeah, searching through my sister's 740 00:28:03,540 --> 00:28:04,540 Vimeo, where 741 00:28:05,630 --> 00:28:07,109 where we had these documented but, you 742 00:28:07,110 --> 00:28:09,119 know, this was actually from from some 743 00:28:09,120 --> 00:28:09,729 time ago. 744 00:28:09,730 --> 00:28:10,730 So. 745 00:28:11,830 --> 00:28:13,959 Let me just try to look again. 746 00:28:25,650 --> 00:28:27,289 If I can't find it in time, then, by all 747 00:28:27,290 --> 00:28:29,299 means, come find me afterwards and I can. 748 00:28:31,120 --> 00:28:32,449 Oh. I think I did find it. 749 00:28:32,450 --> 00:28:33,450 In fact. 750 00:28:36,480 --> 00:28:38,220 Actually, if you wanted to 751 00:28:40,990 --> 00:28:41,990 see, I can. 752 00:28:43,990 --> 00:28:46,109 We actually do have an 753 00:28:46,110 --> 00:28:48,549 an archive of our work here 754 00:28:48,550 --> 00:28:50,889 at two could dot com slash FSP 755 00:28:50,890 --> 00:28:52,869 if you want it, if you're curious to see 756 00:28:52,870 --> 00:28:54,699 what some of the projects were that we 757 00:28:54,700 --> 00:28:55,779 did. 758 00:28:55,780 --> 00:28:58,839 This is also have audio out this HDMI. 759 00:28:58,840 --> 00:29:01,289 Well, let's see if this plays. 760 00:29:01,290 --> 00:29:03,429 And if not, then you can 761 00:29:03,430 --> 00:29:04,430 check it out. 762 00:29:06,580 --> 00:29:07,659 I don't thing is going to play, actually. 763 00:29:07,660 --> 00:29:09,069 Oh, wait. Is Norio here? 764 00:29:17,030 --> 00:29:18,829 I think we might be out of luck. 765 00:29:18,830 --> 00:29:20,449 Well, if you want to listen, actually, 766 00:29:20,450 --> 00:29:22,759 you can you can visit this this Web page 767 00:29:22,760 --> 00:29:24,359 here and we do have some videos up. 768 00:29:25,930 --> 00:29:26,930 Okay. 769 00:29:27,260 --> 00:29:29,629 I think you can 770 00:29:29,630 --> 00:29:30,949 see the address up there. 771 00:29:30,950 --> 00:29:33,469 Yes. It's also on the talk 772 00:29:33,470 --> 00:29:35,059 sites, on the 773 00:29:36,370 --> 00:29:38,539 far plan. So you can 774 00:29:38,540 --> 00:29:40,399 listen to it there. So there's one 775 00:29:40,400 --> 00:29:41,929 question at microphone one. 776 00:29:44,080 --> 00:29:44,999 All right, here's the thing. 777 00:29:45,000 --> 00:29:47,250 Hold on just a sec. 778 00:29:54,920 --> 00:29:57,270 Now, this was a noise x 779 00:29:58,640 --> 00:29:59,640 berriman. 780 00:30:13,680 --> 00:30:14,940 Those are my sister's hands. 781 00:30:30,700 --> 00:30:31,700 So 782 00:30:33,610 --> 00:30:34,610 they think. 783 00:30:37,730 --> 00:30:38,730 OK. 784 00:30:39,130 --> 00:30:40,979 So, yes, the question. 785 00:30:40,980 --> 00:30:42,029 Yes, short question. 786 00:30:42,030 --> 00:30:44,759 How hard is it to be sound artist 787 00:30:44,760 --> 00:30:46,919 in the modern world when 788 00:30:46,920 --> 00:30:49,200 we are almost visual and media 789 00:30:50,700 --> 00:30:53,129 audience, mostly when you are on talks? 790 00:30:53,130 --> 00:30:55,139 There is for sure some projector and 791 00:30:55,140 --> 00:30:56,609 video. But sometimes there is problem 792 00:30:56,610 --> 00:30:58,679 with sound. We sell now. 793 00:30:58,680 --> 00:31:00,809 And so when people broths Internet, they 794 00:31:00,810 --> 00:31:02,179 looks for pictures. 795 00:31:02,180 --> 00:31:04,319 Yeah. So how it looks like 796 00:31:04,320 --> 00:31:06,449 from your perspective, it's easy to 797 00:31:06,450 --> 00:31:07,379 reach your audience. 798 00:31:07,380 --> 00:31:08,380 We have sound products. 799 00:31:09,960 --> 00:31:10,960 Well, 800 00:31:12,060 --> 00:31:14,639 I mean, to tell you to the sound. 801 00:31:14,640 --> 00:31:16,989 I, I include it in this talk because 802 00:31:16,990 --> 00:31:18,929 it's it's relevant to this idea of 803 00:31:18,930 --> 00:31:19,979 visceral systems. But 804 00:31:21,330 --> 00:31:23,579 at the time I have actually 805 00:31:23,580 --> 00:31:25,529 worked with sound myself for a number of 806 00:31:25,530 --> 00:31:26,879 years. I've been focusing mainly on 807 00:31:26,880 --> 00:31:27,359 networking. 808 00:31:27,360 --> 00:31:28,360 But 809 00:31:30,330 --> 00:31:32,249 I mean, whether my goal like that, I want 810 00:31:32,250 --> 00:31:34,439 to reach an audience online, 811 00:31:34,440 --> 00:31:35,819 for example, online or even in the 812 00:31:35,820 --> 00:31:36,339 exhibition. 813 00:31:36,340 --> 00:31:37,709 Scientists sometimes. 814 00:31:37,710 --> 00:31:40,079 Yeah. Hard to find perfect conditions 815 00:31:40,080 --> 00:31:41,099 for. 816 00:31:41,100 --> 00:31:43,319 Absolutely. Well, so one of the benefits 817 00:31:43,320 --> 00:31:45,479 about this is that this isn't 818 00:31:45,480 --> 00:31:47,069 reliant on high fidelity. 819 00:31:47,070 --> 00:31:49,199 This is actually about noise in some 820 00:31:49,200 --> 00:31:50,789 way. It's about interference. 821 00:31:50,790 --> 00:31:52,500 So actually, that was never an issue. 822 00:31:54,220 --> 00:31:55,739 Yeah, okay. 823 00:31:55,740 --> 00:31:57,799 Very good. So unfortunately, time 824 00:31:57,800 --> 00:31:58,949 is up for this hour. 825 00:31:58,950 --> 00:32:00,929 So thanks again, Sarah, for the nice 826 00:32:00,930 --> 00:32:01,859 talk. Thank you very much. 827 00:32:01,860 --> 00:32:03,050 And a reminder that this.