Archive for September, 2011
Physical Samples
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…
8.192″ tall!
* calculation from Adam Caprez at the Holland Computing Center; thanks Adam!
Ordered by Nibbles
Darth Vader Playing Instruments
Chart of What I Know
Atari ET Levels
Levels from the Atari 2600 game E.T. Thinking about hyper-minimal games…
Giant Guitar Prototype
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.
Reubens and Cats
Things With Frightening Names
“Things With Frightening Names” from “The Pillow Book” by Sei Shōnagon:
“A pool of green water.
A cavern in a valley.
A board fence.
Iron.
A clod of earth.
Thunder: not only is the name frightening but the thing iteself.
A hurricane.
A cloud of ill omen.
The halberd star.
A wolf.
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’.
Snake strawberries.
A living ghost.
Devil’s yam and devil’s fern.
Bramble and the prickly citron.
Dried charcoal.
A peony.
The cow-headed devil.”
Entry #150; thanks James Shea.
Elliot Stabler’s Eyes
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.
Bourriaud’s Definition of Art
“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
