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Prosthetic lecture.a copy 5

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...A SIMPLE CHART WE USE TO BRAINSTORM THE USE OF HUMAN/COMPUTER INTERFACES WITH THE PERFORMING BODY. THIS INVOLVES THE CONFLUENCE OF THE 'NOOSPHERE' WITH THE HUMAN BODY IN ART AND TECHNOLOGY....A …

...A SIMPLE CHART WE USE TO BRAINSTORM THE USE OF HUMAN/COMPUTER INTERFACES WITH THE PERFORMING BODY. THIS INVOLVES THE CONFLUENCE OF THE 'NOOSPHERE' WITH THE HUMAN BODY IN ART AND TECHNOLOGY....A DOSE OF HISTORY AND NARRATOLOGY.


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  • 1. DOMINANT THOUGHT AND NARRATIVE CULTURE BECKETT, NIETZSCHE, BARTHES, LYOTARD CINEMA AND THE BODY de CHARDIN, BAUMAN, YOUTUBE, TELEPHONY, NETWORK PERFORMANCE, OF-THE-HOOK SOCIAL MEDIA ART ART SCIENCE THE CRUST POST MODERN VIEW: NIHILISM AND THE DIVERSE PATHOS THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 THE CORE THE MONSTER KINECT AND FILM SEQUENCES:THE TELEMODERN: MASS CUSTOMIZATION AND LIVING SHOT, SEQUENCE, SCENE, TO MAKE ‘THE THE ARCHIVE MONTAGE, FLASHBACK,THE MONSTER IS THE MEANING’ TEMPO, ARCH. BREAK THIS, TELEMATIC AI CONTRAST INTO GRAMMAR 1
  • 2. ONSTAGE AT PLATO’S LOFT PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 2 2
  • 3. THE BODY IN THE NO-OSPHERE: DEVELOP A SERIES OF CODE THAT CORREPOND WITH THE KINESTHETIC ACTION OF THE IR CAMERA AND THE MINDWAVE. IDEA – the concept or artistic impetus behind the work: Develop a series of software that results in a new means of perceiving performance and the human destiny within the ‘noosphere’ of current telematics. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: Using code through max msp, the IR camera, and the mindwave we have come up with a number of combinations of ideas in human computer interfaces to be used with developed content in storytelling. We are aiming at Augusto Boal’s notion of the spect/actor providing a fluid relationship with the media of performance. DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work. This is a series of practices in art and tech. Why are they separate? What is the destiny of reuniting these separate features? Do they have a cultural legacy together as they might be blended as a new art form? CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: What are the ends of interface and network? Have we already moved through a time where the combined cloud computing of the metaweb has reached a type of sentience? What are the many relationships between simulation and database? Would a fracturing of forms merely create a further digression? This is a project that will ask some, and demonstrate all these questions implicitly. THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 3
  • 4. DEAR SIR OR MADAM: THESE ARE PROJECT PROPOSALS FOR YOUR CONFERENCE ON DEVISED DRAMATURGY. MY CURRENT UNIVERSITY RESEARCH AND PUBLIC EXHIBITIONS/PERFORMANCES INCORPORATE THE NEW TECHNOLOGIES OF THE KINECT IR CAMERA (READING THE GESTURING BODY INTERFACES OF MUSIC, SOUND, AND MOTION) AND COMBINING THIS WITH THE EMOTIV NEUROSENSOR CAP (WHICH WE HAVE USED TO TRIGGER FILM WITH TWO TO FOUR DIFFERENT EMOTIONS. THE LAST TECHNOCRATIC 'ATTACK' ON THE ACTOR/AGENT, AS WELL AS THE LINEAR/SCRIPTED NARRATIVE IS OBVIOUS: WE CAN PERCEIVE EMOTIONS THAT TRIGGER MOTORS AND PROJECTORS BEFORE OR AS THE ACTOR DOES, AND THE INTERFACES OF THE BODY EXPAND/BREAK DOWN/ MASH UP THE NOTION OF THE AUDIENCE DISCREETLY PERCEIVING A WORK OF ART. ALL IS 'DATABASE' AS ALL NARRATIVE IS ACCESSED IN THE MOMENT. THIS PROJECT PORTENDS TO A NEW DYSTOPIC TIME WHERE ALL BRICK AND MORTER (THE THEATER, THE UNIVERSITY, MED SCHOOL FOR EXAMPLE) AS WE HAVE SURGICALLY IMPLANTED SENSOR NODES (OR ELSE WE DONT WORK OR GET HEALTH INSURANCE) WITH GOOGLE ON STAND BY FOR OUR DREAMS, OUR CRIMES, OUR THOUGHTS, OUR ABILITY TO PERFORM COMPLEX SKILLS, OUR ABILITY TO USE OUR MILLION YEAR MEMORY, AND WE CAN CALL UP ANY INFORMATION (IN THE DATABASE OF THE NOOSPHERE) AND WE WILL THEN HAVE ANOTHER MACHIN IMPLANTED AT THE BACK OF OUR RETNA AS THE TINY THEATER OF OUR MOLECULAR EXISTENCE. THE AUTHOR IS THEN THE ACTOR (SEE QWIKI WHICH ARRANGES WIKIPEDIA IN NARRATIVE FORMS), AGENCY (IN COMBINATION WITH A GENETICALLY ALTERED WORLD) WILL BE SOME FRAGILE HUMANISTIC TIE WITH HUMILITY, RESPONSIBILITY, AND SOLIDARITY. ARE THESE THREE QUALITIES THE LAST OF REAL HUMAN CULTURE? WILL AND ENGINEERING OF HUMAN DNA CREATE THE POST HUMAN OR WILL THE PROSTHETIC OF THE RETNA SCREEN WITH THE NEUROSENSOR CAP DO THIS QUITE WELL? THIS PROJECT (USING THE IDEA OF THE ORIGINAL SCENOGRAPHY OF PLATO'S CAVE) EXPLODES WITH ATTENDANT QUESTIONS. PB THE MANIFEST: USING THE NEUORSENSOR CAP AND KINECT IN PERFORMANCE AND EXHIBITION THE STORM OF THE MIND The following are some mind-mapped notes on what we could accomplish with the given technology and human computer interface devices: the IR Kinect camera and the Emotiv Neuosensor cap. As new types of consumer level interfaces with computers, local interaction and beyond (the Noosphere in the form of the internet) these devices are amazing in themselves. We have come a long way from the pecking index finger. Yet the salient questions of both western and eastern philosophy remain open and can now begin to be ‘touched’ in the form of simple exercises that ‘illustrate’ the tropes, metaphors, expressions, and manifestations of these two devices…with the appropriate software and the appropriate ‘old media’ to mash up. What are some initial hooks? discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 4
  • 5. If we follow Julian Jaynes and Marshal McLuhan in a general drift of historical media something happened to the human mind around 1000-500 B.C. The collective ‘mind’ left the world of the oral storyteller and entered into a very particular relationship with writing and the Phoenician alphabet. Jaynes stated that a type of ‘bicameral mind’ happened at this point and McLuhan stated that a type of imprisoning ‘linearity’ of alphabetic form coincided with the advent of large-scale writing and literacy. The papyrus market from Egypt was in particular flows and flux and this affected the market, needs, and uses of literacy. Cities (the polis as a form of commercial and cultural agitation) were formed and making their final refinements before the large scale metropolis in Roman and Chinese society. Plumbing networks and improved infrastructure made these cities bloom into large-scale endeavors. The oral Homeric traditions began to be codified on papyrus. According to these two theorists the mind itself was split into forms of pre-literate holisms of consciousness, and a type of ‘literate linearity’. The dichotomy of ‘inner and outer’ self became etched in drastic relief. We see the emergence of important philosophers of morality and ‘alternative realities’ emerge all over the northern hemisphere perhaps as a reaction or incubation of this new literacy. Socrates, Confucius, Christ, Buddha, Zoroaster, and Mohammad emerged out of a moral need to respond to and metaphysically ‘correct’ the influence of literacy. How could we still intuit a perception of meaning, content, alternative states, and the moral if we could now lock the past and future experiences of theses states on papyrus in the forms of written words? McLuhan famously stated that a type of rear-view mirror looked all the way back from newer media to the older media and arrived at this inception of literacy. What happened with the television is that the image, sound, and body became perceptually available to this literate mind and a type of shock happened: the modern literate mind was re-tribalized by the possibilities of a preliterate experience with the greater networked world. The digital revolution added greater speed, pervasiveness, and a type of push button accessibility to millions of other nodes (in my childhood I had access to four channels who would concern themselves with the shaping of opinion…even the public channel…a type of information dumbing-down that we had to correct with reading). The information ‘locked’ in the kinesthetic body can now be opened up. The IR camera can perceive, calibrate, trigger, and in many ways act as a transducer for expression and control. We have got the machine (off the stultifying Xbox platform) to trigger sound, film, game walkthroughs, and many other somatic, physical operations that were only possible with the mostly right index finger on the mouse. The unlooked ‘tribal’ significance of pre-literate uses of the body can now be explored and amplified. As this is an examination in the realm of art and cultural production we don’t feel the need to calibrate, add taxonomics, and in other ways find a repeatable result that we would have to as a scientific experiment. Our initial agenda in ‘making manifest’ with these two devices is to raise some very old questions of the philosophy of mind and body and illustrate countless tropes that could be made manifest in a performance and exhibition setting. THE STORM OF THE MIND discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 The cap with the Kinect ‘chases’ the ‘soul’ back inside the body. Initially there is a reaction to the absolute surveillance capacity of both interfaces. The way we move is a big ‘fingerprint’ of our public identity and we care if we are used or ‘cultivated’ (harvested) for the purposes of commerce or political and societal misdeeds. Personal agency and a type of reflective ‘retreat’ often hides behind ‘face’ in both Asian and western civilization. Perhaps this is trans cultural. Up until the advent of neurosensors we assume that we can and will survive the assaults of the public world and then we can find sanctuary behind the mask. With the use of both the Kinect and the brain cap we find that this will also erode. What external transducer can be trigger ‘outside’ the mask? Isn’t this primordial and nothing new with performance, shamanism, and even psychotropic drugs? What new tropes, combinations, landscapes, unlocking of subconscious states, dreams, jokes, archetypes, parodies, and other manifestations of an inner state to an outward being can be made in combination with these consumer level items? These digital to human interfaces show up at another paradigmatic time: that of environmental, society/ 5
  • 6. These digital to human interfaces show up at another paradigmatic time: that of environmental, society/ financial (with the interlinked finance markets) and most importantly the bio-engineered world of the human body and mind aptitudes themselves. These two, fun, prosthetic items can and do point toward a human reaction not only to the digital world and the Internet, but also to the greater morality and teleological questions of wholesale engineering of the human animal itself. With these simple items we hope to touch on ancient questions left unsolved and portend to a world just beginning: rearranging and engineering the very DNA of the human beast. pb The grammar: The immediate task is to combine a number of things: the internet, the Kinect IR camera interface, the Emotiv Neurosensor, and select programs in Max that trigger software that have direct expression in a performance/ exhibition setting. With these new interfaces the body as well as the mind shall be placed in combination of intentional ‘acts’ as well as manifestation that will reveal the message in a number of combinations never seen before within this consumer technology. Imaging a database of the quality of life of the lowest billion people on earth. This could be a rough estimate (as there might not be continuous feeds of data coming from that sector who has trouble eating every day let alone finding access to a computer). We could find a dynamic feed from this information such as the amount of food consumed every day or the presence of shelter or disease in their lives. With this database we could find a means of expressing it though some sort of aesthetically captivating pie graphs, rhizomes, graphs of beautiful vibrant colors or one of the many graphing means (see ‘information is beautiful’). We would take this information and develop a 1 to zero means (in Max there are 257 degrees) of amplifying brightness, sound volume, or, perhaps, the movement of a servo motor attached to just about anything…a balloon blowing up. With this information on the bottom billion people on earth we could attain an idea of what the manifest shape of human identity is as a whole: what the daily life is (expressed in a form of database metaphor), how many and what is the type of hunger they go through in a day. With this specific ‘look’ at this dynamic database expressed in numbers through a CPU and then sent through a transducer so that it would take on some manifest form we can arrive…as an audience in an exhibition or performance…what the minimum shapes or qualities of being human are at the bottom of all possible humans existing now on earth. It is an interesting first assignment or manifestation for this ‘mashup’ because it addresses the proximity and saliency of networks, information, interfaces, archives (dynamic) interactivity and simulation that immediately take on a moral dimension and avoid the empty ‘hipster’ applications of a privileged materiality and technology. This exercise illustrates an ‘alternative reality’ that is ‘out there’. These are other concepts that weave between the aesthetic and the moral within this scenario. THE STORM OF THE MIND Finally there is an interesting aspect of combining aesthetics and morality in the use of the Kinect and the Emotiv: we, the audience, can view any given user incorporating their whole body in the decision sand manipulation of their interfaces with this information. The Emotiv adds the dimension of thought and emotion: is thought itself as moving neurons an important manifest act? Could the agent ‘act’ through thought on the level of empathy and choice with the information on the shape of base human dignity? Network, information, interface, archive, interactivity and simulation. discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 6
  • 7. Network: Those with access to machines are privileged. One to three billion people on earth have access or ownership of networked computers. The important ‘Kantian’ aspect of this installation addresses an important notion… often missed with telematic technology…humility (why do I have this privileged of material possessions in the computer and interfaces), responsibility (what could I do to use this machine that the bottom billion couldn’t have access to), and solidarity (with the other billions who cannot find the means of network connectivity for work, food, and other important societal aspects of connectivity). Information: What can we know of the bottom billion? What is ‘useful’ information compared to ‘exchangeful’ information? Who emits, what is the shape of the message emitted and what forms and who are the receivers? With the dynamic information created through databases of the lives of the bottom billion we also have a dynamic receiver in the form of the mutable self of the receiver. Both ends of this equation are in flux. Information emitted from the database of the billion is as fractured as the billions of neurons in the brain of the agent/ subject in the performance installation. In some way the message is held as the ‘anchor’ of the exchange in the flux of both emitter and receiving agent. Interface: The database is built out of supposed ‘facts’ of the bottom billion souls. The data feed is attached to interfaces and transducers that project that information. The singular agent in the Kinect beam and the Emotiv cap then triggers their reaction to the information adding a (Kantian) response to a possible empathy with the billion souls represented as a singular ‘transducer’. If the human moral essence can only exist as an ‘end’ in itself what shape would the knowledge of this fundamental dignity take? How could these lowest billion exist as a type of subhuman existence just because we can’t have direct empathetic knowledge of their existence? Could an interface attached to the aggregation of these billion arrive at a concept of a whole human being to be encountered with this new interface? Archive: Is there a real struggle between database and narrative (database with a temporal aspect added)? Is this merely the capacity of giving a push to inert facts existing in the library? Interactivity: How could we start to empathize with a large group of people so that they…in a sense…could be come a singular entity? THE STORM OF THE MIND Simulation: Is game structure important for creating the ‘push’ behind inert databases? Are the lives of these bottom billion a form of alternative reality much like the fantasy/fantastical worlds created by the gaming community? Is immersion and simulation really a means of diving an ostrich head in the sand? discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 7
  • 8. THE STORMS OF THE MIND. More binaries: INTERFACE/THOUGHT: AUDIENCE SEES ACTION/AUDIENCE DOESN’T SEE ACTION: The ‘magic’ is seeing the ideal image. …Perhaps contrasting that of what you think should have happened. BRAIN IN VAT/RAT IN CAGE: Frustration becomes bliss. It has to at the end. THE DEATH OF MAGIC/THE BIRTH OF THE SUBTLE FACE: With the mad face I can’t see the tornado touch down. I know the storm will have duration. PETER BROOK ‘EMPTY SPACE’/AUGUSTO BOAL’S ‘CROWDSOURCE’: Brook…in his Gurjevian, guru, shaman, charlatan, method attempted to manipulate the crowd of true believers in the theater once he got them there. Boal wanted to collect them from a world of suffering and frustration and meet them at the door. INTERFACE/THOUGHT: Patterns move…just like the cumulonimbi of the midwestern hot spring. You could watch these storm clouds that went up to 80 thousand feet and seem like they would touch the ground. Then…. if you were very close to it, you could see the swirl of the massive heat that the sun caused on the black plowed plains punch a large swirl into the bottom of the dark black cloud. Time. I am witnessing the fluid motion of clouds and heat and the cold air pressing down from thousands of feet. I feel time and I look. I see the visible. The horror of the storm…the big storm. It is a tornado in creation like the one last week that killed about three hundred people. Time and visibility. With the human brain I don’t see this storm…perhaps I could if I were trained. The clouds are no less dire. The danger no less immanent. I have felt this at certain ‘storms’ in my life. Moving about the streets in fits of panic and crying. Sleeplessness as the storm brewed overhead. Logic …the serial logic of thinking these storms out didn’t work. The storm was already in motion. Logic was like the pathetic surface of the prairie from an observe in a pickup truck stopped at the side of the road watching with awe as the storm gathered above. Calm did not work. ‘just put your hands within your belt and concentrate on the rhythm of the breathing up and down…said the Chinese doctor. Already the storm had brewed. This would be like crop duster flying through the storm of the mind. Nothing was working except to let the storm pass. Even the events…perhaps the calm of listening to water or to calming music didn’t work. The brew of the storm inside was too much. I had to let it pass. After…what perhaps made me know I would survive…. I would feel very much better…or at least different. ‘What doesn’t kill you makes you stronger’…is the famous, oft repeated Nietzsche quote. So be it. THE STORM OF THE MIND discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 Time. Change is the entity gluing time with visibility. All I see is change in the storm of the earth and the storm of the visible. I think…I know…I think and I feel together…. this is difficult to unhinge those two ideas. I wish time to stop. I wish to see the funnel cloud before it hits the earth bringing death and destruction. I wish to stop the storm within like Lear on the heath and see where my logic, calculation, risk, and environment has taken me. I have gathered everything from the environment. I see it. There is noting a control of the will could do to stop what is in motion. Notime…stasis is that thing contradictory to time fullness. Between the contrast of visibility and non-time is the image. What was that? Why is film still the conjoining of still images…. can we not live outside of the perceived flow of time which is real the still? Contradictory of the visible is nonvisibility…the invisible. Where is that? Even in the storm of the prairie I know it to be there. It is the impending destruction…my own death in the chaotic path of the storm. Where and what is this invisible? Can I see the storm of my mind? Do I have to stand outside myself or view it from the ground? Between the non-visible and the non-time is the ideal…the ideal image. It is like that last moment between life and death where the Tibetan Buddhist wait above the sick body and ask where it is going…what does it see. It is the sword fight machos after the final act of a Jacobean dual where the mortally wounded ask each other ‘what they see’. What is the ideal? What is that moment between life and death as they see both sides in an ideal…. what should they have done? Different? I am about to go mad…. I cannot sleep. I call for the drugs that would make are sleep or become a solider as the walls of the room close in. All closing in. The stab of the poisoned sword, the touch of the tornado to the ground. Boom. Insight. Then duration. How long do I have between this full sense of time and the non-visible? Out. BRAIN IN VAT/RAT IN CAGE: Brain in the vat floats. The palace of the tantric mandalla expands…extrudes. Conflates into the fourth dimension. Time. It now has time fullness. 8
  • 9. BRAIN IN VAT/RAT IN CAGE: Brain in the vat floats. The palace of the tantric mandalla expands…extrudes. Conflates into the fourth dimension. Time. It now has time fullness. The yantra moves upward the tornado move downward. It touches and implodes everything in its path. The air of the human body feels the still and then the sucking moments after it is churned with steel and stick, and shrapnel debris in the vortex of nothing. Implosion. The air is sucked out of the victim and she had been taught to suck in air as a mindful yoga practitioner. You breathe in your last breath as you huddle in the basement on the prairie. You are in that moment between life and death. The funnel is right above you churning everything and it will suck you out…there is little hope of endurance. You are going mad trying to take the ‘right’ breath of the mind-full living. Contrary to your life is peace. Contrasting it is suffering. Contradicting it is death. You are hamlet stabbed in act five. You are king Lear on the heath coming the suicide of the sane. You are the kamikaze in the battle of Okinawa plowing your craft into a destroyer. There is a type of peace between suffering and death. You are aiming right for it. You have no choice with the funnel cloud above you. You cling to a film image that has stopped. You are the rat in the oasis maze and you move only by intuition. You are the brain in the vat thinking of it all and knowing that you will be back…the eternal return. Perhaps you will be back to this moment. Always. Like a flash. Like an oasis maze. Seeking in a type of bliss of frustration. The basement is not safe…you are sucked out into the lathe. The poison stab is mortal…you will know peace in painful decline. You see the confluence of the ideal and the image. The movie flickering has stopped. The hot bulb sees only one frame…that sees it? The hot bulb burns. The audience gasps and some laugh…. then…. out. THE DEATH OF MAGIC/THE BIRTH OF THE SUBTLE FACE: PETER BROOK ‘EMPTY SPACE’/AUGUSTO BOAL’S ‘CROWDSOURCE’: McLuhan claims that the ten thunders in Wake represent different stages in the history of man:[57] ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ ▪ Thunder 1: Paleolithic to Neolithic. Speech. Split of East/West. From herding to harnessing animals. Thunder 2: Clothing as weaponry. Enclosure of private parts. First social aggression. Thunder 3: Specialism. Centralism via wheel, transport, cities: civil life. Thunder 4: Markets and truck gardens. Patterns of nature submitted to greed and power. Thunder 5: Printing. Distortion and translation of human patterns and postures and pastors. Thunder 6: Industrial Revolution. Extreme development of print process and individualism. Thunder 7: Tribal man again. All chor-actors end up separate, private man. Return of choric. Thunder 8: Movies. Pop art, pop Kulch via tribal radio. Wedding of sight and sound. Thunder 9: Car and Plane. Both centralizing and decentralizing at once create cities in crisis. Speed and death. Thunder 10: Television. Back to tribal involvement in tribal mood-mud. The last thunder is a turbulent, muddy wake, and murk of non-visual, tactile man. [edit] The principles of new media In his 2001 book, The Language of New Media, Manovich describes the general principles underlying new media: THE STORM OF THE MIND ▪ ▪ ▪ ▪ ▪ Numerical representation: new media objects exist as data Modularity: the different elements of new media exist independently Automation: new media objects can be created and modified automatically Variability: new media objects exist in multiple versions Transcoding: The logic of the computer influences how we understand and represent ourselves. discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 9
  • 10. DOMINANT THOUGHT AND NARRATIVE CULTURE SOPHOCLES, PLATO, AUGUSTINE, ‘EVERYMAN’ THE CORE THE CRUST THE GREEK VIEW OF THE UNKNOWN/ MEANING AND VALUE EARLY MONOTHEISTIC VIEWS UNKNOWN/MEANING AND VALUE THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 10
  • 11. DOMINANT THOUGHT AND NARRATIVE CULTURE SHAKESPEARE, DANTE, KANT, MARX, FREUD, GOETHE, IBSEN, WAGNER, BRECHT, SARTRE ART SCIENCE RENAISSANCE EUROPE: PERPECTIVAL FRAMES AND HAPPY AGNOSTICS THE BODY ON THE NOOSPHERE EARLY AND LATE MODERNIST: UNEASY ATHEISTS AND TECHNOCRATS. LAGUAGE AND LIBERATORY LIFE ON ‘THE CRUST’ discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 11
  • 12. DOMINANT THOUGHT AND NARRATIVE CULTURE BECKETT, NIETZSCHE, BARTHES, LYOTARD de CHARDIN, BAUMAN, YOUTUBE, TELEPHONY, NETWORK PERFORMANCE, OF-THE-HOOK SOCIAL MEDIA ART ART SCIENCE THE CRUST POST MODERN VIEW: NIHILISM AND THE DIVERSE PATHOS THE CORE THE MONSTER THE TELEMODERN: MASS CUSTOMIZATION AND LIVING THE ARCHIVE TO MAKE ‘THE MEANING’ THE MONSTER IS THE TELEMATIC AI THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 12
  • 13. DOMINANT THOUGHT AND NARRATIVE CULTURE KURTZWEIL AND TECHIE UTOPIANS VS. LANIER TELEMATICS THE ENVELOPING OTHER THE SELF THE OTHER EMPATHY THE SELF AND THE OTHER THE CRUST THE CORE THE MONSTER THE TELEMODERN: MASS CUSTOMIZATION AND LIVING THE ARCHIVE TO MAKE ‘THE MEANING’ THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 13
  • 14. DOMINANT THOUGHT AND NARRATIVE CULTURE TECHNOCRATS, POSITIVISTS SCIENCE TELE PHENOMENOLOGISTS, TELE ROMANTICS THE OTHER THE OTHER MACHINE PROSTHETIC THE HUMAN PARASITE THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 14
  • 15. MBIE LEMMINGS ON THE HIGH CLIFFS OF HEGEL MIND OF THE MEDIEVAL: AI RAPTURE PHILLIP.BALDWIN@GMAIL.COM S.Saturday, October 27, Baldwin contact: Prof. Phillip 2012 15
  • 16. WE ARE ALL FERAL IN THE MIND P H I L L I P. B A L D W I N @ G M A I L . C O M Saturday, October 27, 2012 16
  • 17. FIVE OR SIX TRANSMEDIA PROJECTS 1. DOPPELGANGER SHADOW IDEA – the concept or artistic impetus behind the work: With the use of video mapping on moving objects (a combination of module 8, mad mapper, and the kinect) an actor moves about the stage acting out a play about a ‘doppelganger’. This could be portrait of Dorian Gray, secret sharer, or Jekyll and Hyde. As the actor moves about the stage the shadow follows him with low lighting angles. This shadow is filled in with prepared films of his ‘double’…. if he is good…. the video is wicked. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: With the use of video mapping we can come into a new dimension with the attending visual culture: the visual and moving image that attends the action, voice, and the presence of the actor is ‘filled in’ with a contrast and binary. We see the play of opposites within the stage of the expressionist lighting. DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work. This project must involve the use of mad mapper, module 8, and the kinect. CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: The scenography of the set becomes a much more dynamic element to the action, voice, and text of the given piece. 2. THOUGHT STREAMS IDEA – the concept or artistic impetus behind the work: Using t. Martinez’s Max patch we view the flow of film across the stage. And actor sits in a chair and has an Emotiv cap on. With this emotiv the actor moves the band of selected video or film across the stage in a line with his or her attendant emotiions moving through the emotive to the command of the timing within the film. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: The actor sits and recites lines. The film moves around and then is triggered by specific, or near specific, emotions that stops the film to play in one area. DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work. Video stills are prepared and then the emotive is conditions to respond to various ‘stopping points’ with the film. CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: FIVE OR SIX TRANSMEDIA PROJECTS These new, very striking interfaces demonstrate the ability of interface and interaction to present …or make manifest…the inner motivation and feeling of the actor. …And, by extension…the veracity of the script. What is the different unlocking of the meaning of the arbitrary sound of a word and the image it conjures? This play demonstrates the fragile notion between inner meaning and outward manifestation of the spoken and acted word. PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 17
  • 18. 3. CORNERS OF THE PANOPTICON IDEA – the concept or artistic impetus behind the work: This is a project to mount a series of projections within an ancient panoptical prison. Within the roundness of the space tape is placed in a series of angles. Within this cordoned off areas the video projection hits. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: The task is to set a performance within a round panopticon. …Or something like a panopticon. This plays on the sense that the central position of the observer as guard, punitive police, and some ‘other’ who enters into the mind and self-surveilling attitude of the ‘observed’ or self. DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work: This involves the video mapping of the mad mapper. The film hits the arbitrary corners of select spaces. CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: The ‘roundness becomes fragmented. The self becomes projected. 4. WHEN CINEMA WAS RELIGIOUS IDEA – the concept or artistic impetus behind the work: Gone are the days of the cinema art house. Many of us grew up with the ‘sermon’ of cinema aesthetics as a perfected ritual, pilgrimage, and a curious reverent spectacle that we had to drive to, pay, and toil to attend…. often to the derision of our peers. In this era of streaming Netflix this is gone. This project makes use of video mapping to project some of the classic avant guard films of the sixties on the shadows of multiple characters on the stage. The combination of seeing these films as moving, moving in position, and moving in combination to each other is, and will bring up, a great impact of an era that tied great cinema to a public space of reverence. The art house cinema took over from the small experimental ‘theater of ideas’ and it, too has faced extinction. Why do we like seeing actions in the field of our mirror neurons? This remains a mystery in the era of smart phones. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work. CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: DILDO CINEMA FIVE OR SIX TRANSMEDIA PROJECTS PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 IDEA – the concept or artistic impetus behind the work: Using a designer dildo we insert it into the vagina of an actress on stage. This dildo is conditioned with sensors so that it then plays various tones, sounds, and film behind and around the short expanse of the dildo. The actress can improvise on the nature of pleasure, the patriarchy, and the notion of technology as opiate. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: 18
  • 19. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work. CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: VITRUVIAN CORNER IDEA – the concept or artistic impetus behind the work: The stage, the space, is a confrontation between the vertical plane and the horizontal. Does the volume between each imply an entity? A mass of nothing? Is it supposed to be filled with the dynamic actions of an actor or should it be empty, silent, and still. This project explores through video mapping, sound created through movement, the relationship of the vertical wall to the horizontal, and the intrusion, the parasitic inhabitation, and the foreignness of the human moving within that dialog. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work. CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: THE CITY AS BLANKET OF CINEMA IDEA – the concept or artistic impetus behind the work: On the stage there is a large, small-scale model. There is a video projector facing downward. This covers the whole model. Within the bumps and edges of the video mapping the video moves across the small scale ‘landscape’ of the city. The actor moves across these citing lines…like a giant Godzilla. PRACTICE – the effectiveness of how the work is put into practice and the impact it has on those experiencing it: DEVELOPMENT – the contribution the work makes to the development of the artists involved, the art form, and the arts more widely: the work of the artists will be coordinated to exhibit the work. CONTEXT – the context in which the work is being presented and the appropriateness of the work to that context: FIVE OR SIX TRANSMEDIA PROJECTS PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 19
  • 20. COMMUNITY SHARING AUTHORITY RANKING DIMENSIONAL METHODS 1D 2D 3D 4D discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 C L A S S P A R A DI WITNESSING G M S EQUALITY MAKING MARKET PRICING IMPERATIVES 20 20
  • 21. 1 DIMENSION 2 DIMENSIONS 3 DIMENSIONS 4 DIMENSIONS INFRASTRUCTURE GRANT THINKING GRAD SCHOOL APP DRAWING TRAVEL GRANT SUSTAIN CULTURAL HERITAGE GLOBAL EDUCATION WRITING PERSONAL ARTISTIC GRANT CULTURAL PRODUCTION GROUP (ART, EXHIBITION, WORKSHOP) CLAY TECH AND EDUCATION WORKSHOP, LECTURES, SYMPOSIA, STUDIES. CAD/FABER DIGITAL ARCHIVES PUBLISHING/MEDIA DEVELOPMENT THE INTENTIONAL COMMUNITY GAME/MOVEMENT ONLINE EDUCATION AND DEVELOPMENT GLOBAL SUSTAINABLE EVENT/SPECTACLE STORY/SUSTAINABLE DIMENSIONAL METHODS 1D 2D 3D 4D discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 HEALTH AND MEDICAL ARCH.URBANISM.AFFORDABLE HOUSING URBAN SUSTAINABLE EQUALITY COMMUNITY NGO/NFP MODULAR COMPONENT MAKING MARKET PRICING MAKING AUTHORITY RANKING 21
  • 22. 1 DIMENSION VOICE RECORDER THINKING 2 DIMENSIONS SKETCH BOOK 3 DIMENSIONS CLAY/BODY/COMPUTER 4 DIMENSIONS FILM CAMERA/COMPUTER EVENT/SPECTACLE: LECTURE,ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION PROJECT DRAWING EVENT/SPECTACLE: EXHIBTION, ANIMATION PROJECT WRITING EVENT/SPECTACLE: READING,LECTURE,ONLINE PROJECT PROJECT EVENT/SPECTACLE: METHOD, CUISINE, RITUAL CLAY CAD/FABER PROJECT EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION PROJECT GAME/MOVEMENT DIMENSIONAL METHODS 1D 2D 3D 4D discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 PROJECT EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION PROJECT STORY/SUSTAINABLE PROJECT P PROJECT EVENT/SPECTACLE: ONLINE, EXHIBTION,PUBLIC PROJECTION, INTERACTION EQUALITY MAKING MAKING AUTHORITY PROJECT COMMUNITY MARKET PRICING RANKING ASYNCHRONOUS AND SYNCHRONOUS PROJECTS 22
  • 23. WE ARE ALL FERAL IN THE MIND P H I L L I P. B A L D W I N @ G M A I L . C O M Saturday, October 27, 2012 23
  • 24. WE ARE ALL FERAL IN THE MIND P H I L L I P. B A L D W I N @ G M A I L . C O M Saturday, October 27, 2012 24
  • 25. SHADOW PROJECT REAL-TIME VIDEO MAP TO BODY REAL-TIME VIDEO MAP TO SHADOW: FILL IN WITH MOTAGE OF IMAGES THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 25
  • 26. THE PROGRAM MOVES CHAKRAS ALIGN TO EIGHT CHAKRAS CINEMA AND THE BODY SERPENTINE MOVEMENT? KINECT AND THE CORRECT POSURE: COLORS AND VIBRATIONS THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 KINECT AND FILM SEQUENCES: SHOT, SEQUENCE, SCENE, MONTAGE, FLASHBACK, TEMPO, ARCH. BREAK THIS INTO GRAMMAR 26
  • 27. CINEMA AND THE BODY FILM IS LOADED INTO THE FREYTAG’S ARCH SO THAT THERE IS A COMBINATION OF TIME AND DYNAMIC VARIANCE KINECT AND FILM SEQUENCES: THE BODY ON THE NOOSPHERE SHOT, SEQUENCE, SCENE, MONTAGE, FLASHBACK, TEMPO, ARCH. BREAK THIS, CONTRAST discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 INTO GRAMMAR 27
  • 28. FILM AS IMPLIED SOUND: USING FILM SCORES IN COMBINATION/CONTRAST WITH THE DRAMA. SCORES FILM SCORES ARE LOADED INTO THE FREYTAG’S SYSTEM. THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 KINECT AND FILM SEQUENCES: SHOT, SEQUENCE, SCENE, MONTAGE, FLASHBACK, TEMPO, ARCH. BREAK THIS, CONTRAST INTO GRAMMAR 28
  • 29. THE PROGRAM MOVES CHAKRAS ALIGN TO EIGHT CHAKRAS SYMPHONIC HARMONIES AND THE BODY SERPENTINE MOVEMENT? KINECT AND THE CORRECT POSURE: COLORS AND VIBRATIONS THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 KINECT AND SYMPONIC SEQUENCES: PITCH, MELODY, HARMONY, TIMBRE, DYNAMICS, TEMPO, VOLUME INTO GRAMMAR 29
  • 30. THE PROGRAM MOVES CHAKRAS SYMPHONIC HARMONIES AND THE BODY KINECT AND SYMPONIC SEQUENCES: THE BODY ON THE NOOSPHERE discussion document: prof. phillip baldwin PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 PITCH, MELODY, HARMONY, TIMBRE, DYNAMICS, TEMPO, VOLUME INTO GRAMMAR 30
  • 31. CORIOLANUS, BELIEF, ACTION discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. Saturday, October 27, 2012 31 31
  • 32. NEW INTERFACE BETWEEN ARCHIVE AND SIMULATION PHILLIP.BALDWIN@GMAIL.COM/917 385 2446 Saturday, October 27, 2012 32 32
  • 33. THE TENSION BETWEEN REAL TIME AND ARCHIVE. discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 33
  • 34. NEW INTERFACE BETWEEN ARCHIVE AND SIMULATION PHILLIP.BALDWIN@GMAIL.COM/917 385 2446 Saturday, October 27, 2012 34
  • 35. WE ARE ALL FERAL IN THE MIND P H I L L I P. B A L D W I N @ G M A I L . C O M Saturday, October 27, 2012 35 35
  • 36. WE ARE ALL FERAL IN THE MIND P H I L L I P. B A L D W I N @ G M A I L . C O M Saturday, October 27, 2012 36 36
  • 37. NEW INTERFACE BETWEEN ARCHIVE AND SIMULATION PHILLIP.BALDWIN@GMAIL.COM/917 385 2446 Saturday, October 27, 2012 37
  • 38. PERSONAL ARTISTIC GRANT INFRASTRUC TURE GRANT ALL S IS P NO S IS P SOME S IS P SOME S IS NOT P DIGITAL ARCHIVES MOVE LAB AND DEVICES A discussion and lecture document: Prof. Phillip Baldwin (phillip.baldwin@gmail.com) 917.385.2446 Saturday, October 27, 2012 38
  • 39. EXCRETE A COMMODITY, SOME SEMIOTICS PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 39
  • 40. the four social algorithms COMMUNITY SHARING AUTHORITY RANKING Saturday, October 27, 2012 EQUALITY MAKING MARKET PRICING 40
  • 41. Binarism in Representation Saturday, October 27, 2012 41
  • 42. AR AR AR AR KIN AR EMO AR AR AR KIN KIN AR KIN EMO AR KIN AR AR EMO AR AR AR AR AR EMO EMO EMO KIN EMO KIN KIN KIN EMO KIN AR EMO KIN AR EMO EMO KIN EMO NOTES FOR ASSISTANTS PHILLIP.BALDWIN@GMAIL.COM/917 385 2446 Saturday, October 27, 2012 42 42
  • 43. BIG ALGORITHMS OF GENDER discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 43 43
  • 44. BIG ALGORITHMS OF GENDER discussion document: prof. phillip baldwin. phillip.baldwin@gmail.com. 917.385.2446 Saturday, October 27, 2012 44 44
  • 45. ONSTAGE AT PLATO’S LOFT PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 45 45
  • 46. ONSTAGE AT PLATO’S LOFT PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 46 46
  • 47. TASK NOTES FOR ASSISTANTS PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 47 47
  • 48. TASK NOTES FOR ASSISTANTS PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 48 48
  • 49. TASK NOTES FOR ASSISTANTS PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 49 49
  • 50. TASK NOTES FOR ASSISTANTS PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 50 50
  • 51. ONSTAGE AT PLATO’S LOFT PHILLIP.BALDWIN@GMAIL.COM Saturday, October 27, 2012 51 51

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