{technology} – Page 56 – { feuilleton }

God in the machines

• Compact, robust and easy to use;
• Long lasting battery life;
• Large LCD with blue backlight for night time viewing;
• Built-in audio speaker;
• Built-in DC adapter jack;
• Ability to record up to 3 hours* of voice;
• Follow and compare your own voice with the reciters;
• Excellent sound quality with AudiTrax technology;
• Inter-changeable audio plug-in system;
• Bookmark function;
• Repeat function;
• Search function;
• Full audio recitation;
• Approved/licensed Qur’an text in Arabic (Uthmanic font type);
• Approved/licensed Qur’an text in English (Mushin Khan’s translation);
• Approved Islamic contents in both Arabic and English translation.

Modern Orthodox by Elliott Malkin.

Modern Orthodox is a working demonstration of my next-generation laser eruv system. An eruv (pronounced ey-roov) is a symbolic boundary erected around religious Jewish communities throughout the world. While an eruv is typically constructed with poles and wires, Modern Orthodox employs a combination of low-power lasers, wifi surveillance cameras and graffiti, as a way of designating sacred volumes of space in urban areas.

Crucifix NG by Elliott Malkin.

Crucifix NG (Next Generation) is the principal work of the Faith-Based Electronics Group at the Interactive Televangelist Program (ITP). Crucifix NG is a printed electronic circuit board in the shape of a crucifix. This handheld, wall-mountable device houses a battery-operated transmitter that broadcasts an ASCII, non-denominational version of the Lord’s Prayer at 916 megahertz. (916 has no numerological significance – it is simply a function of the availability of low-cost transmission chips within this FCC license-free bandwidth.)

Previously on { feuilleton }
• Layering Buddha by Robert Henke

Folder icons

I don’t use customised folder or desktop icons much these days but this set, entitled Ink, is great, based on tribal tattoo stylings. If there were other designs as good as this in the world of lurid, gum-drop-shaped, drop-shadowed reflectiveness, I might be more inclined to customise my folders now and then. Jamie McCanless is the artist responsible and you can see these and other designs on his site, including some nice GLBT and Pride-themed works.

PS: these are Mac-only.

The Bowes Swan

“I watched a silver swan which had a living grace about his movements and a living intelligence in his eyes.” Mark Twain, Innocents Abroad.

The Silver Swan is perhaps the best known and best loved object in The Bowes Museum. It is musical automaton in the form of a life-size model of a swan, comprising a clockwork mechanism covered in silver plumage above a music box. It rests on a stream made of twisted glass rods interspersed with silver fish. When the mechanism is wound up, the glass rods rotate, the music begins, and the swan twists its head to the left and right and appears to preen its back. It then appears to see a fish in the water below and bends down to catch it, it then swallows the fish as the music stops and resumes its upright position. The whole performance lasts about forty seconds. In reality the fish has been concealed lengthways on a pivot in the swan’s beak and returns to this position. In real life swans do not eat fish.

The Bowes Museum site has more details about John Joseph Merlin’s splendid swan and this page has a QT movie of the automaton in action.

Lapis by James Whitney

Lapis (1966).

Proof of the conservative nature of cinema as an artistic medium can be found in the way its abstract practitioners don’t merit anything like the attention received by Piet Mondrian or Jackson Pollock. In cinema narrative is all, and it’s ironic that when artists such as Julian Schnabel or Robert Longo turn to film they end up telling stories.

James Whitney’s Lapis (1966) is a classic work in this field, a 10-minute animation that took three years to create using primitive computer equipment:

In this piece smaller circles oscillate in and out in an array of colors resembling a kaleidoscope while being accompanied with Indian sitar music. The patterns become hypnotic and trance inducing. This work clearly correlates the auditory and the visual and is a wonderful example of the concept of synaesthesia.

James and his brother John were pioneers of the use of computers in animation. Looking around for stills from Lapis turned up this fascinating page of early computer graphics:

In the early 1960s digital computers became available to artists for the first time (although they cost from $100,000 to several millions, required air conditioning, and therefore located in separate computer rooms, uninhabitable ‘studios’; programs and data had to be prepared with the keypunch, punch cards then fed into the computer; systems were not interactive and could produce only still images). The output medium was usually a pen plotter, microfilm plotter (hybrid bwn vector CRT and a raster image device), line printer or an alphanumeric printout, which was then manually transferred into a visual medium.

It’s difficult to see these films outside a special screening at a gallery or arts cinema. The Keith Griffiths documentary Abstract Cinema is an excellent introduction, including both Lapis and James Whitney’s Yantra among many other short works. However, this isn’t available to buy so viewing it means scouring TV schedules or waiting for some of these neglected works to turn up on YouTube. Gene Youngblood’s 1970 book Expanded Cinema discusses abstraction and the Whitneys and is available as a free PDF download here.

Update: Lapis on YouTube again, in full this time!

Elsewhere on { feuilleton }
• The abstract cinema archive

The Photophonic Experiment

Electric light orchestra
Light bulbs. Biscuits. A 10,000-volt charge. The only thing you won’t find making music at a Photophonic Experiment gig is guitars and pianos, says Maddy Costa.

Maddy Costa
Friday, October 20, 2006
The Guardian

Ceinws in north Wales is the kind of tiny, bucolic town where nothing unusual is supposed to happen. And possibly it didn’t before Mark Anderson moved in. A sound-artist, instrument-maker and pyrotechnic with the performance group Blissbody, he has a workshop opposite the village pub that appears perfectly innocent from the outside, but inside could pass for a laboratory from a Frankenstein movie. Glass tubes and dangerous-looking electrical contraptions clutter the floor. Wires coil across a table. A standing lamp looms in the corner. “Watch this,” says Anderson, as excited as a five-year-old setting fire to a box of tissues. He points a mysterious black cone at the lamp and turns a dimmer switch to activate the bulb. Slowly, the lamp illuminates, and a sound fills the room: a low buzz at first, but growing painfully high-pitched as the light reaches full brightness. This really is white noise.

Remarkably, what Anderson is demonstrating isn’t an instrument of torture but a “photo-synth”, a device that converts light into sound. It’s a key element of the Photophonic Experiment, a bizarre, potentially fascinating collaboration between Anderson and like-minded musicians Pram and Kirsten Reynolds that tours the UK from next week. And if the people of Ceinws think Anderson is odd, they should hear what his associates get up to.

Continue reading “The Photophonic Experiment”