Archive for September, 2011
Doing some Friday afternoon math about the audio files on my computer.
~22 days of music = 80,129,302,838 samples*
Sample values range from -32,768 – 32,768
If each value were to be cut using a standard CNC mill with 0.000125″ accuracy, the resulting object would be:
10,016,162.8″ = 834,680.2′ = 158.08 miles long, and only…
* calculation from Adam Caprez at the Holland Computing Center; thanks Adam!
A fantastic chart by David Lang.
Via: Make blog
Levels from the Atari 2600 game E.T. Thinking about hyper-minimal games…
Currently building a prototype for a giant (22′ and 70′) guitar, to be performed at the Bemis Center for Contemporary Arts. Turnbuckle tuner, derlin nut/saddle, humbucker pickup. Possibly played with a motor.
Because not everything has to be serious.
“A pool of green water.
A cavern in a valley.
A board fence.
A clod of earth.
Thunder: not only is the name frightening but the thing iteself.
A cloud of ill omen.
The halberd star.
A white-eyed cow.
Prison. A prison warder.
An anchor. Here again one is frightened not only by the name but by the sight of the object.
A rope mat.
A robber is frightening in every possible way.
An ‘elbow shower’.
A living ghost.
Devil’s yam and devil’s fern.
Bramble and the prickly citron.
The cow-headed devil.”
Entry #150; thanks James Shea.
In a rare and interesting moment, an episode of “Law & Order: SVU” where the camera is not in the third person, but a POV shot. Seen through Elliot Stabler’s eyes, while wearing glasses. A strange moment of internalization on a show that is has such a clear sense of style.
Season 9, Episode 7.
“When Benjamin Buchloch referred to the conceptual and minimal generation of the 1960s, he defined the artist as a ‘scholar/philosopher/craftsman’, who hands society ‘the objective results of his labour’. For Buchloch, this figure was heir to that of the artist as ‘mediumic and transcendental subject’, represented by Yves Klein, Lucio Fontana and Joseph Beuys. Recent developments in art merely modify Buchloch’s hunch. Today’s artist appears as an operator of signs, modelling production structures so as to provide significant doubles. An entrepreneur/politician/director. The most common denominator shared by all artists is that they show something. The act of showing suffices to define the artist, be it a representation or a designation.”
Relational Aesthetics, pg 108