1. Richard Brown

    Richard Brown: “

    I’m currently over in Vienna settng up my work for the upcoming Pask Present Exhibition which opens tomorrow. If your in the area feel free to join us for the opening night tomorrow (25th March). One of the artists exhibiting is Richard Brown, so I thought I’d show a taste of his work. Richard Brown has a BSc in Computers & Cybernetics and an MA in Fine Art and works as a hybrid artist, inventor and entrepreneur creating interactive and mimetic experiences using a wide variety of media, including the digital, the analogue and the chemical. His works explores the perception of space, time and energy encompassing ideas from cybernetics, artificial life, interaction design, emergence, complexity and alchemy.

    richard brown
    Static Machine

    Between 1995 and 2001 Richard was a Research Fellow at the Royal College of Art where he created and exhibited three major interactive works Alembic (ICA 1998), Biotica (Siggraph 2000) and the Neural Net Starfish (Millennium Dome 2000). Whist at the RCA Richard also published the book ‘Biotica: Art, Emergence and Artificial- Life‘. He has been an Honorary Senior Research Fellow at the Victorian College of Art, Melbourne University, and artist-in-residence at CEMA (Centre for Electronic Media Arts), Monash University.In 2006 Richard was invited by Edinburgh Informatics to be their first Research Artist in Residence. In this role, he has developed projects combining art, informatics and communications research.

    Here are a selection of projects of his but you can see many more at the Pask Present Exhibition.

    Electromagnetic Time Machine 1983

    An electromagnetic kinetic sculpture using the cybernetic principle of regulatory feedback to generate complex oscillatory behaviour. Each electromagnetic relay is physically coupled to a vertical pendulum and electrically influenced by its immediate neighbour. When a relay closes it causes the relay in front to close only if the relay behind is open, thus creating a regulatory feedback loop with unstable oscillations due to the differing physical weightings of the vertical pendulums. A simple PIR sensor activates the work, the pulsing lights indicating the closing and opening of each relay.

    richard brown

    Cybernetics concerns itself with any type of system that involves sensing and feedback, biological, ecological, mechanical and chemical. Gordon Pask created cybernetic feedback mechanisms using electromechanical and analogue components in his works, such as ‘Colloquy of mobiles’ in the same vein, Time Machine represents an alternative paradigm to the digital.

    Dendritics I, II and III

    richard brown

    The Electrochemical System is inspired by Gordon Pask’s early experiments with electrochemistry. The central negatively charged copper electrode of each glass is surrounded by four positively charged copper electrodes. Copper dendrites grow from the central electrode reaching out to the outer electrodes. The plates are connected so that each glass is in competition with the other, more charge being consumed by the fastest growing dendrite. Each outer electrode is connected via an LED whose brightness indicates the voltage difference.

    richard brown

    This work represents an experiment in using dendritic growth as self regulating switching mechanisms, as a dendrite grows, it consumes more potential in competition with other dendrites trying to grow from the same power source. Pask describes the possibilities of chemical computing, the energy systems involved and illustrates a number of circuit possibilities for dendritic circuits on pp 105–108 in his book ‘An approach to Cybernetics’, Pask 1961.

    (Via Interactive Architecture dot Org.)


  2. How-To: Build your own CNC machine (Part 2)

    How-To: Build your own CNC machine (Part 2): ”

    Filed under: ,

    In today’s How-To, we’re still pimping out our dremel tool with parts from old printers. In Part 1 we got started with the controller and covered all the basics. Today we’ll get into the details and get busy with the power tools. And that, of course, is always the best part.

    Once the board is finished, building the controller is pretty easy. We highly recommend using sockets for mounting the 5804 chips. The thin, flexible legs are much easier to fit into a hand-drilled board. (We were out of 16 pin sockets, so we used pairs of 8 pin sockets.) The rest of the board is standard fare.

    The controller is designed to connect to the parallel port, and each connection is helpfully labeled with the pin of the Sub-D 25 connector. We prefer the solder type connectors. Assembly is quick and easy if you have a set of ‘helping hands’ alligator clips.

    Electrically, unipolar stepper motors have four coils inside. Every motor we’ve salvaged has had six wires, so we’ll go over that type. To have six connections, each pair of coils has a common lead, while the opposite end has a dedicated lead.

    Identify the wires by measuring the resistance between the leads with a multi-meter. If the wire are connected to separate sets of coils, the resistance will be very high. Resistance across two coils will be double the resistance of just one coil. On some motors, the common leads are connected.

    Each axis of the stepper controller has six output connections. Each group of three wires connects to a pair of coils.

    Linear slides are key to the design of a functional machine. These slides are a half successful experiment. We used 1/4-inch steel rod from the hardware store and some brass and steel bushings. The brass material slides easier, but ultimately we think the smaller size and unfinished rod is too prone to binding. Alignment is critical, but they can work well for very short travel.

    Salvaging matching rods from old printers is more optimal. Imagewriter IIs have metal carriages with pressed in brass bearings. The cast material is on the brittle side, but some careful dremel work can really pay off.

    Getting appropriate materials for the project can be a challenge. In this case, we’re using two of these handy half inch thick cutting boards from Sam’s Club. They’re about $10 each. Higher quality plastics like delrin can be obtained from suppliers like McMaster-Carr.

    The threaded rod needs to spin freely with the motor, but still needs to be anchored. We picked up a 1/4-inch inner diameter ball bearings off of ebay.’ We drilled a hole the same size as the bearing, then cut a slot in the piece with a miter saw. Finally, we drilled a hole for a machine screw.

    The bearing is sandwiched between two nuts on the threaded rod. They are tightened with two wrenches. Then the bearing is inserted into the block and the machine screw is tightened down. It’s a simple and effective design. We usually put one at each end of the threaded rod.

    To build the mechanical base of the machine, it’s important to put in some design time. Determine how much material you have, draw out your design and estimate how much material you’ll need to achieve the size of machine you’re going for.

    Spend time laying out each axis. Then break it into its components so you can begin laying out your cut sheets. This was our original layout for the first axis of our machine.

    We cut our cutting boards using a standard table saw and a circular miter saw. If the blade is sharp, you’ll end up with some very nicely finished edges.

    The first axis for this table is simple. The base acts as a large channel for the table. We’ve found that the plastic is soft enough that it doesn’t have to be tapped for threads. Just drill the hole with the same bit you’d use if you were tapping threads (like a #21 for 3/16 threads) and bevel the outer edge a bit. Machine screws will thread right into the plastic, and the threads will hold surprisingly well. However, tapping the threads for extra precision isn’t a bad idea.

    Originally we wanted to use two 1/4-inch rods to maintain alignment, but thanks to the channel design, just one was sufficient. The second rod was a source of binding. We suggest incorporating a larger rod or two from a printer.

    The holes for the rods and screw were drilled at one time on the drill press before assembly. The bearing block was added once the screw was aligned. The locknut isn’t necessary. If you want to hand align the machine, This is a good place to add a knob or wheel to spin.

    Next week we’ll build the rest of the machine, mount the tooling and finish the job. See you then!

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    (Via Engadget.)


  3. “I think there’s way in which the kind of primitive digital aesthetics…

    “I think there’s way in which the kind of primitive digital aesthetics…: “

    ‘I think there’s way in which the kind of primitive digital aesthetics I’m referencing suggest a romance around ideas of infinity, progression, and the future. I think that romance can engage a sort of sublime in lieu of the immensity of nature that we historically associate with landscapes.’

    Michael Bell Smith

    (Via Random Access Memory.)


  4. First African satellite launched

    First African satellite launched

    Filed under: ,

    In a landmark launch that will supposedly “contribute to bridging the digital divide within Africa and between Africa and the rest of the world,” the continent’s first satellite successfully made it into orbit aboard a French-made rocket last night. The so-called RASCOM-QAF1 — named after the Regional African Satellite Communication Organization which is funding the venture — lifted off from the European space base in Kourou, French Guiana stowed inside an Ariane 5, the sixth such launch this year and 36th overall of that particular model, manufactured by Paris-based Arianespace. The new 3.2-tonne (7,055-pound) satellite is set to serve the large African rural market neglected by traditional cellphone carriers, and will allegedly save hundred of millions of dollars a year currently being paid to foreign operators.

    [Via PhysOrg]

     

    Read | Permalink | Email this | Comments


    (Via Engadget.)


  5. Quantity Over Quality at Google Book Search

    Quantity Over Quality at Google Book Search

    Campus Technology has a well-documented article about Google Book Search: The Good, the Bad & the Ugly, which suggests that Google’s project is more about quantity than quality. For example, The University of California has to deliver 3,000 books a day to Google, according to their agreement. “All of the libraries are talking about that, in the sense of what might be the most interesting materials to scan. But I’ll be very frank: There’s a real balance point between volume and selection, especially when looking at these numbers. UC is trying to meet the needs of the contract it’s signed,” says Robin Chandler, former director of data acquisitions for UC’s California Digital Library.

    And since Google has to scan a lot of books, it needs a scalable scanning technology. “When it first started, the technical challenge was simply building a scanning device that worked. The next technical challenge was being able to run this scanning process at scale. We would have been quite happy to use commercial scanning technologies if they were adequate to scale to this. We only built our own scanning process because that was the way to make this project achievable for Google,” says Dan Clancy from Google.

    Surprisingly, the scanning process involves humans, as you can see in some books from Google’s index (TechCrunch, Google Blogoscoped, George Hernandez, The Genealogue spotted fingers). “If you go into Google [Book Search] and look at any book, you’ll be able to see by the number of body parts and fingerprints that [the pages] are being turned manually,” suggests Linda Becker, VP at Kirtas, the company that produces the fastest robotic book scanner in the world: APT BookScan 2400. “If you were to go to the Google site, you’d see that one out of every five pages is either missing, or has fingers in it, or is cut off, or is blurry.”


    Larry Page announced in October 2007 that the book search index is “over a million books”. A search for “now” returns 2,190,600 results (1,740,600 available in limited preview and 214,600 fully available for reading and downloading).

    The conclusion of the article is optimistic:

    When it comes down to it, then, this brave new world of book search probably needs to be understood as Book Search 1.0. And maybe participants should not get so hung up on quality that they obstruct the flow of an astounding amount of information. Right now, say many, the conveyor belt is running and the goal is to manage quantity, knowing that with time the rest of what’s important will follow. Certainly, there’s little doubt that in five years or so, Book Search as defined by Google will be very different. The lawsuits will have been resolved, the copyright issues sorted out, the standards settled, the technologies more broadly available, the integration more transparent.

    (Via Google Operating System.)


  6. Call – Generator.x 2.0: Beyond the Screen

    Call – Generator.x 2.0: Beyond the Screen

    Club Transmediale.08­ – Unpredictable
    Festival for Adventurous Music and Related Visual Arts

    Generator.x 2.0: Beyond the Screen
    24 Jan -­ 2 Feb 2008, Ballhaus Naunynstrasse / [DAM] Berlin
    Workshop / Exhibition / Performance

    071127_gx20_lennyjpg.jpg

    Leander Herzog: thePhysicalVertexBuffer

    Generator.x in collaboration with Club Transmediale and [DAM] Berlin presents Generator.x 2.0: Beyond the screen, a workshop and exhibition about digital fabrication and generative systems.

    Digital fabrication (also known as “fabbing”) represents the next step in the digital revolution. After years of virtualization, with machines and atoms being replaced by bits and software, we are coming full circle. Digital technologies like rapid prototyping, laser cutting and CNC milling now produce atoms from bits, eliminating many of the limitations of industrial production processes. Once prohibitively expensive, such technologies are becoming increasingly accessible, pointing to a future where mass customization and manufacturing-on-demand may be real alternatives to mass production.

    For artists and designers working with generative systems, digital fabrication opens the door to a range of new expressions beyond the limits of virtual space. Parametric models apply computational strategies to the analysis and synthesis of space, producing structures and surfaces of great complexity. Through fabbing these forms may be rendered tangible, even tactile.

    071127_gx20_jaredtarbell.jpg

    Jared Tarbell: Spheroids and cubes

    Call for participants

    We are looking for 15 artists, designers and architects who have an existing practice based on generative systems and custom software, and who are interested in investigating physical formats through digital fabrication. The workshop will be practical in nature, and will produce a selection of works that will be included in the exhibition at [DAM]. Participants will have access to an on-site laser cutter, and an introduction to this technology will be part of the workshop.

    The workshop is free of charge, but we will not be able to provide support for travel or accomodation. Participants are expected to have experience with programming software that will allow them to produce work suitable for production, such as Processing, VVVV or any other system capable of producing vector output. Previous experience with laser cutting or digital fabrication technologies is a bonus, but not a requirement.

    Applications must be in PDF format and should including a CV and a short statement of intent, describing why you want to participate in the workshop and how fabbing relates to your existing practice. You should include a maximum of 5 images of relevant work, with a total file size of 2 megabytes. Feel free to provide links to web sites containing documentation such as videos or downloadable software, but please don’t send such content by email.

    Please submit applications by email to generatorx [at] clubtransmediale.de. The deadline for application is December 21, 2007, accepted participants will be notified at the beginning of January 2008.

    071127_gx20_theverymany.jpg

    Theverymany (Fornes / Tibbits): Tesselated panels

    Generator.x 2.0: Beyond the screen is supported by The Office for Contemporary Art Norway. We also thank our partners: Institut HyperWerk HGK FHNW and Lasern. .

    (Via Code & form.)


  7. etoy wins VIDA AWARD 2007 with MISSION ETERNITY SARCOPHAGUS

    etoy wins VIDA AWARD 2007 with MISSION ETERNITY SARCOPHAGUS

    Spanish Telecom giant Telefonica saves etoy.CORPORATION from bankruptcy and brings etoy’s mission to the next level.

    As president Francisco Serrano, announced today in Barcelona: etoy wins the first prize of the VIDA AWARDS created by the Telefónica Foundation to foster artistic creation based on new technologies and artificial life.

    Excerpt from the jury statement:

    >etoy launched the Mission Eternity Project in 2005, foregrounding on the one hand respect for the human longing to survive in some way after death, and on the other a sense of irony about dated sci-fi fantasies we contrive to satisfy that desire. The Sarcophagus is one materialization of this project. It is a mobile sepulcher that holds and displays portraits of those who wish to have their informational remains cross over into a digital afterlife. The size of a standard cargo container that can travel to any location in the world, the Sarcophagus has an immersive LED screen covering its walls, ceiling and floor. There, interactive digital portraits can be summoned via mobile phone or web browser from virtual capsules that are stored in the shared memory of thousands of networked electronic devices of Mission Eternity Angels (people who contribute a small part of their personal storage capacity to the mission, currently 765 of them; to date, 2 volunteers have been accepted for encapsulation). The data spectres that populate this tenuous memorial space are composed of details of lives lived, in visual, audio and text fragments. But when they are summoned in lo-res pixellated form in the Sarcophagus, they resemble one merged personality. The massing of details that we find in archives and records that keep the dead with us has a similar compositing effect, yet the Sarcophagus is also very unlike those. It gives us access to a novel social world generated among networked computer users who have a common goal of keeping something alive, which can invoke intense feelings such as care and wonder.



    http://www.missioneternity.org
    http://www.etoy.com
    http://angelapp.missioneternity.org/
    http://www.telefonica.es/vida





    Press image download:
    http://missioneternity.org/files/images/site/tank/06-sanjose-etoy-taasevigen2-01.jpg

    _______


    (Via etoy.CORPORATION.)


  8. Japanese engineers turn old mobile phones into new PCs

    Japanese engineers turn old mobile phones into new PCs

    dview-pc-thumb-1.jpg

    Recycling gadgets is going to become a high-profile issue in the coming years, since we’re not doing it enough. A team of Japanese engineers at Hokuto System have a new spin on the idea, turning parts from old mobile phones into PCs on business card-sized circuit boards. Tech Digest reports.

    “The new device is called DVIEW, and is going on sale in Japan imminently, complete with a 2.2-inch LCD screen, an 81MHz ARM CPU, and a 16-bit stereo soundcard.”

    (Via textually.org.)


  9. Will we learn again from LAS VEGAS?

    Will we learn again from LAS VEGAS?: “

    gearth_4.jpg
    -
    gearth_6.jpg
    -
    The title of this post is of course a wink to the famous book by Robert Venturi & Denise Scott Brown, Learning from Las Vegas published in 1972.
    But as I’m following with distance some GE blogs, I noticed a few weeks ago a certain quantity of posts announcing new ‘buildings’ with good realistic qualities in ‘Las Vegas’. This sounds like a comment on the real city!
    As Las Vegas is mostly the transposition of already existing buildings or monuments into an entertainment city, an ‘island’ in the middle of the ‘desert’, as it is a ‘faked reality made real’, a conditioned space, it has already a lot in common with a ‘2nd world’.
    So to say and by extension, we could tell that Google Earth is becoming a kind of global Las Vegas (even if it is still not an entertainment park at the moment we write these lines)) and that Las Vegas into Google Earth is therefore something much more conceptual, intriguing and complicated: a Las Vegas located both into the desert and into global Las Vegas…
    I thought therefore that it was interesting to get at look at the duplication of the fake and shoot some pictures!

    gearth_2.jpg
    -
    gearth_1.jpg
    -
    gearth_3.jpg
    -
    It looks now pretty clear to everyone that Google is building a ‘geo-mapped – search everything from anywhere’ system (even locations in books will be mapped) with references potentially working in all directions: from digital to real, real to digital, fiction to real, digital to fiction, real to real, digital to digital, etc.
    With Sketchup as a free modeling tool and therefore the possibility for everyone to create new Google Earth layers or objects (as well as any geo web content), Google just need to turn GE into a multi-user / 2nd Life like universe to get a kind of ultimate 2nd world like project and connect everything: get geo-referenced data on you future cellphone, hybrid digital and real life, play with your avatars on the layer you want in GE, fake your real home, etc.
    Those GE images gives a good idea of the complex mediated and layered world we could possibly live in the next decades. This could become the ’second learning from Las Vegas’: an hybrid fake, highly layered and mediated space, that if it gets combined with powerful visual AR mobile devices/softwares, such as the Nokia MARA one, could produce an instant real-soft city/earth.
    You just miss now the concrete building of some Google Earth icons into real Las Vegas, of a Casino-hotel based on a successful ego-shooter game and the mish-mash mapping of everything into everything to get the look of the potential future city. A city where you won’t be able to tell what was first, second or third, what is physical or digital, real of fake, etc.
    We can now discuss if this is good or bad (I mean, do you really like to eat a deep-dish pizza on the Piazza San Marco in Las Vegas!!?), but the process looks to be on its way…

    [tags]google earth, 2nd life, environment, search engine, map, search, augmented, representation, real, digital[/tags]

    (Via variable_environment.)


  10. Mourning and digital culture

    Mourning and digital culture: “

    0digitalmounr.jpgI’m currently investigating the way new media artist and designers explore mourning, its rituals and the ways to keep some form of life after death (any suggestion from readers is more than welcome.) It can translate into physical artefacts such as in Shiho Fukuhara and Georg Tremmel’s famous project Biopresence, Michael Burton’s Memento Mori In Vitro which imagine how the hair of the deceased can be kept alive. It can also envision a device or service that would consist of both a tangible object and its online complement like Elliott Malkin’s Cemetery 2.0, a device that connects a grave to online memorials for the deceased; Digital Remains by Michele Gauler which wonders what happens to your digital data when you die; Mission Eternity by etoy, which would use the power of networked digital technology and inexpensive storage to keep aspects of us alive after we’re dead; or Okude laboratory’s Mastaba, a novel family shrine that consist of digital memories of ancestors with a wooden physical structure.

    Or the projects might be purely virtual.

    As Valentina Culatti at Neural puts it, ‘Just as the Web has changed long-established rituals of flirting and socializing, personal Web pages on social networking sites like MySpace are altering the rituals of mourning.’

    0mydeathsioi.jpg

    The practice of turning the MySpace page of a deceased user into a virtual gravestone has spawned a Web site focused on aggregating information about the deceased. Yourdeathspace, started 2 years ago, is simply a ‘collection of dead MySpace users.’ MyDeathSpace aggregates links to deceased MySpace users’ pages, news stories, obituaries or blogs that detail their lives as well as how they died. Behavior researchers at the University of South Florida apparently follow its development to get insight into the psychosocial effects that social networks might have on youth, and whether online memorials and forums that focus on death encourage teen suicides or comfort those grieving. Researcher Ilene Berson says that the Internet lacks policing efforts similar to those at newspapers and broadcast outlets, where news stories about suicides are sometimes subdued.

    The website has unsurprisingly stirred controversy for what some perceive as an irreverence towards the dead. However it is inevitable that as the Internet becomes a bigger part of our lives, it will become a place (the place?) we’ll go to pay our respects.

    This exploration into mourning and digital culture is still in an embryonic state. For example, i lack information about how it translates into the game world so i’d be happy to hear of any piece of information you could give me on the subject.

    Image.
    Related: projects that deal with suicide; AfterLife, by Auger and Loizeau, aims at using cadavers as a resource to produce some energy; Post Mortem (part 1).

    [tags][/tags]

    (Via we make money not art.)


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