if/when X is an organism, it is not content within its enclosure, x now is not an object but a searching being.
Following the initial exchange idea for barbican hacking month 2013, and the visit there on Thursday 27.06 – it occurred to me there could be other interesting activities to do there..
One of the ideas(??) is the barbican opera, which I think works pretty simply..?
I will go around chatting with artists – not visitors – the actual people that come with ideas for the hacking month of august.. They will be asked to imagine operatic scenes linked or related to their activities in the barbican for certain spaces in the complex.. (spaces are yet to be determined, but am considering the possibility of these places to host cockroaches.. just an idea, perhaps a very stupid one..)
Whatever people tell me, will be recorded and become part of the opera..
How will you link space X to your hack as an opera scene?
— Humm.. I no nothing about opera and it really doesn’t interest me. Cheers mate!
(( This reply will go into space X’s operatic text ))
How will you link space X to your hack as an opera scene?
— Can we sprinkle water there? The protagonist will play with plastic water guns!
(( This reply will also go into space X’s operatic text ))
Well.. That depends probably really..
If a musician gets involved, perhaps we could put the texts into sounds, noises, music and maybe even singing.. If not, hey, I’ll read it, or leave usb sticks with the texts there for people to whatever with?
Might be an idea to get singers? ..or attempt to tempt barbican visitors to sing?
How to be a collidable network sound and live to tell about it? (H2BACNSAL2TAI?)
WHAT IS H2BACNSAL2TAI?
H2BACNSAL2TAI is a group activity that builds, and possibly destroys, a sonic network. H2BACNSAL2TAI imagines how networkable sound lives, from the view of sounds, via to the creation of collisions & networks.
Data networks made of bits known as “packets”, are chunks of information passed on within a given locale to create a network of information.
H2BACNSAL2TAI is an active imagining how it might be as an information packet that contains sound in a network. This is done through actively breaking the network – through colliding packets. Each collision will create its own new network sound.
HOW TO DO H2BACNSAL2TAI
To do H2BACNSAL2TAI, we need at least 3 people – upto any number – to form a circle. To begin with, there will be 2 kinds of messages – sound based “information packets”. Initiated by me, each type will be sent through the circle in a clockwise and anti-clockwise directions.
The initial two message types will be:
* A coded logic pseudocode that would have made packets containing sounds collide and produce new sounds which could then travel to other direction on the network. Since it’s an algorithmic pseudocode logic, each person will be able to imagine being a collidable sound in a network. Each object – 53 in total – will travel anti-clockwise.
* Symmultaniously, 53 ideas of sound objects will travel clockwise through the circle. The sound ideas consist of descriptions and noise making, to do with collision sensations – e.g. gritted teeth, wind hitting guitar strings, an earth history of solar winds, etc..
Through H2BACNSAL2TAI process, collisions between nodes/people in the network will be created. Each person will progressively become a “sound colliding chamber” when they receive and transfer 2 different sound types – code & sound ideas.
On completing a full circle , a 3rd sound element will be introduced: Physical “sound packages” made of gaffa-taped bottles and balloons, filled with nuts**.
These will be thrown within the group, at times to another person, and others with the intention of colliding the “sound packages”. If the objects collide, they will be combined (taped) or split to form new sound packages.
how to be a collidable network sound and live to tell about it (H2BACNSAL2TAI)
Key: is there a packet?=Vi | a friend ? = Ve | a foe? = Vo | an action? = Va | an object = Vo’e
1. sound of an arrow meeting side wind
2. sound of a splat on a lit lighter
3. sound of a traffic inside the scream painting
4. sound of a gasping cyclonic car
5. sound of a missile hitting a heart
6. sound of a chamber orchestra changing clothes
7. sound of a ripple after its gone
8. sound of a hypersonic light
9. sound of a jeeped humvee
10. sound of a reloaded trumpet
11. sound of a deloaded trumpet
12. sound of a unloaded trumpet
13, sound of an empty garage missing a dead body
14. sound of an engine attempting to become biological
15. sound of a an arbitrary number becoming meaningful
16. sound of a an arbitrary number unbecoming meaningfulness
17. sound of a de-becoming of meaning translated into a number
18. sound of a de-becoming of meaning expressed as a number
19. sound of a de-becoming of meaning understood as a number
20. sound of a de-becoming of meaning represented as a number
21. sound of a bus meeting a chicken
22. sound of a bus morphing into a chicken
23. sound of a baby bus-chicken
24. sound of a keyboard at the end of the day
25. sound of a day’s end in a keyboard
26. sound of a day keyboard by the beginning of night
27. sound of a blender with a drum
28. sound of a drummed blender
29. sound of a drumming blender
30. sound of a drummer blender
31. sound of a blending drummer
32. sound of a blending drum
33. sound of a blended drum
34. sound of a splat sneezed
35. sound of a gasp belched
36. sound of a zipped wind
37. sound of a bottling beat
38. sound of a snored ouch!
39. sound of a humming chirp
40. sound of a barking roar
41. sound of a barking lion
42. sound of a snorting caw
43. sound of a snorting crow
44. sound of a bulleting cockatoo
45. sound of a bulleting bleeper
46. sound of a bulleting morse-code
47. sound of a morse-coding a bullet
48. sound of decoding a morse-coded a bullet
49. sound of re-coding a morse-coded a bullet
50. sound of a sneezed a morse-coded bullet
51. sound of a bullet’s will
52. sound of a barking will
53. sound of an unwilling will
1. Vi Vo Va Vo
2. Vi Va Ve
3. Vi Va VoVe VoVe
4. Vi Vo’e Vo Ve
5. Vi Vo’e Va Vo’e
6. Vi VaVo’e Ve Ve
7. Vi Va Vo Vo
8. Vi VaVa Vo’eVe
9. Vi VaVo’e VaVo’e Vo
10. Vi Va Va Vo’e
11. Vi Va Vo Vo’e
12. Vi Va Vo Vo’e
13. Vi Va Vo’e Vo Ve
14. Vi Vo’e Vi Vi Vo’e Vo
15. Vi Vo’e ViVa Ve
16. Vi Vo’e VoViVa Ve
17. Vi VoVeViVa Ve Va Vo’e
18. Vi VoVeViVa Ve Va Vo’e
19. Vi VoVeViVa Ve Va Vo’e
20. Vi VoVeViVa Ve Va Vo’e
21. Vi Vo’e Vi Ve
22. Vi Vo’e Vi Ve
23. Vi Ve Vo’e
24. Vi Vo’e Vo
25. Vi Vo’e Vo Vo’e
26. Vi Vo’e Vi Ve
27. Vi Va Vi Vo’e Ve
28. Vi VaVo’e Vo’e Ve
29. Vi Vo’eVa Vo’e Ve
30. Vi Vo’eVa Vo’e Ve
31. Vi VaVo’e Vo’e Vo
32. Vi VaVo’e Vo’e Vo
33. Vi VaVo’eVo Vo’e Vo
34. Vi VaVo VaVo
35. Vi Va VaVe
36. Vi VoVaVo’e Vo’eVa
37. Vi VoVaVo’e Ve
38. Vi Va Vo
39. Vi Va Ve
40. Vi VaVo’e Ve
41. Vi Va Va Vo
42. Vi Va Vo’e Ve
43. Vi Va Vo’e Vo
44. Vi Va Vo’e Vo
45. Vi Va Vo’e Vo
46. Vi Va Vo’e Ve
47. Vi Va Vo
48. Vi Vo VaVo’e Vo
49. Vi Ve VaVo’e Vo
50. Vi Vo VaVo’e Vo
51. Vi VoVo’e Va
52. Vi Va VoVe
53. Vi VoVa Va
the”problem” in my head, apart from it being just that, is the imagined need for solution.
the question should be practised – not solution.. eg —>
am on public transport.
i know there will be timespace wheren (where + when come together) i’d cross looks with someone – how to cross eyes with a stranger on trans & port in public? maybe the practice is:
how to question crossing eyes with a stranger on trans & port in public?
We crossed eyes/looks. Something was created for a fleeting moment – that isn’t the interest. That moment has gone. However, the practice could question precisely that – no?
* crossing looks *
Hey dude, no mean to disturb etc. we’ve just crossed. Was wondering how you came to look? i was looking beyond you. and you?
oh! gee.. hummm.. i checked your strange glasses.
(These are object/what based questions)
Hey dude, we’ve just crossed. how did it feel? (am asking so that there will be an aesthetic question, organism, developed out of this crossing..)
for me there was a question of focus – beyond and on – shifting.
dude – i was wondering how it might feel like wearing your glasses. (they are different)
now we have a new aesthetic organism that asks how it feels like to shift focus while sensing a wonderment regarding unfamiliar glasses.
This can be given to visual people, or designers, or biologists, or builders, etc. to do solutions. Or offered to other artists as a way for imagining through.
Indeed I could use this in a follow-up crossing eyes with a stranger on trans & port in public?
Hey dude – we’ve just crossed. I was imagining how someone that shifts focus while being fascinated by unfamiliarity of eyewear might sense you monochromatic dresscode.
really? gosh you are a cheeky bastard! fuck off will you??!!!
Cool – now we have a new kind of crossing eyes with a stranger on trans & port in public? – it has a double folding, no? (crossing eyes + fuck off..)
To bring geographically mapped sounds from Rome into Brighton and vice versa.
We will take the exact measurements of Rome, be it within the 7 hills, and superimpose the resulting coordinates onto Brighton. These coordinates will serve to map the locations of sounds in Rome, and play them in the corresponding geo locals in Brighton.
The same process will be done in Rome, where the Brightonian measurments will be superimposed onto Rome and the coordinates will be used to serve sounds from Brighton in their corresponding locations in Rome.
how people experience BRRB
Sounds will, initially, be produced by individuals, groups and communities who volunteer to contribute sounds relevant to them.*
To access these sounds, we will develop sound based Augmented Reality app for mobile devices such as smart phones & pads. This app will show people where sounds are in their environment, the super-imposed maps, and when a person is in a sound inhabited location – they’ll be able to listen.
For example, we might get sounds from market traders in Brighton’s open-market played in its corresponding location in Rome. Or, a person could visit the Colosseum mapped in Brighton, by going to the corresponding location and listen to sounds made by people in the Rome based Colosseum.
how sounds will be produced & introduced to BRRB
We will use a variety of means to get people to place sounds:
<> Radio stations with links to communities. We will produce radio content about the people & or groups, and or communities that will introduce sounds. These might, for example, be:
– Local musician who could get their music played in corresponding locations to where they might be recording, or have played a gig, etc.
– Local story tellers who might have a story about a certain location.
– Stand up comics who want to tell their failed joke from, for example, corresponding locations to where they live.
– Communities who might record meetings, stories, discussions, songs, etc.
– Individuals who simply want to have a sound based memory of them in a related local but else-where.
– Market traders.
– Sound archives of relevant locations.
All these are just initial possible radio and/or webtv shows ideas..
* The idea with BRRB, and perhaps the pitfall in its name(?), is that it can be a sort of platform in two ways:
1. We can begin it as a radio disseminated project, and then move on to open it up for people to add sounds..?
2. This can serve as a model that could be implemented with other cities
WIENWOCHE 2013 – Application Guidelines
David & Aharon
2. Description of the applicant (max. 2000 characters)
David does stuff like mint fest.
Aharon does stuff like digihub
3. Website, Links
4. Contact info / Contact person
1. Project title
Food Collider / BlendedBlender
Festival of Growing (FOG) is a global discussion of food cultivation and production.
Growable (vegetable/food??) Democracy Generator (GDG)
2. Project description (max. 5000 characters)
Summarized description of the applied project (e.g. the most important focal points, ideas for realization, formats, goals, …)
Soup is not enough. Ingredients are not enough. Voting is not enough. not enough is too reductionist
in which case the 1st boom could be something like:
Food Collider is an ongoing practice where people get to play with democratic processes applied for food.
To make this happen, Food Collider is made of 2 interrelated parts and during 3 distinctive periods of pre, during & post Wien.
1. generating food ingredients via discussions.
2. elective & selective processes the aim of which is to produce food recepies. These recepies are then prepared and eaten by people involved.
1. Pre Wien, Food Collider will organise meetups where people will talk of how to be their favourite food ingredient. This will be recorded and categorised per ingredients.
2. During Wien, the ingredients will be used, via democrstic selective and elective means, to produce recepies which then be made for people by local foodies.
3. Post Wien, Food Collider will organise a new set of meetups to produce food ontologies. These will be ready for people to take up and apply new sets of democratic means, hence allowing an ongoing process of democratic experimentations with imagination, food, and discurssivity as its core matterials.
Food Collider is a process which continually questions democratic processes in a playful and yet critical way. It relates to stuff of the guts, Food, material we all need to survive, and link it to democratic practices and questions how we can use these to thrive. Indeed, whether the very ability to question is the process of thriving.
The Food Collider is a tryptich in time, done via 3 interdependent elements. 1st, people are asked to come together and develop food-stuff material. This is where people will get to imagine What & How it might be to be an edible entity. How is it like to be a cucamber, or a cow, or a shrimp, or a soya bean? What does it feel and sense like to be an edible entity? People will be asked to talk about an edible ingerient they like most, hence have some pashion about the subject and the possibility to collide ideas and notions about food with other members of the public.
These discussions will form an audible, video and textual database which will be used for the 2nd element of the triptych.
For the 2nd element, Food collider will introduce the bunch of food stuff-idea-noise for people to discuss making a recepie from. These recepies will be discussed and decided by people based on how they sense it is best for them. In that sense, Food Collider is gnostic intentionally, we want the Collider to be used in various times and contexts. However, for Wien, we have a specific democratic proceedural suggestion to employ, that of Liquid Democracy. Therefor people will use LD as the process to get the recepe together, as well as for the 3rd element of the Collider’s tritych , the cooking & eating.
To cook & eat the recepe that was collided over at the 2nd stage, people will be asked to use other method dimed legitimate decision making by the group. They will have to descide such delicate issues as quantities, times and timing of cooking, as well as the nature of the overall dish.
(Therefore Food Collider as a whole embodies democratic processes, which then can be eaten, used, disposed of, and re-generated.)
Food Collider’s 1st element, the production, will occur prior to Wien. period. This will serve to both gather and develop material for the 2nd element, and to let people know, disseminate information about the Collider specifically and Wuien as a whole.
Through meetings organised at local venues, such as cafes and art locations, we will begin collecting the notions people come up with regarding food stuff. While using the debates as material to be archived, they will also serve to enthuse people via local radio. People will be able to hear the debates and gain ideas regarding how they imagine the life of their favourite food ingedients, and/or how they might want to use the ingredient talked about in the later elements of the Collider.
Both 2nd & 3rd elemnts of the collider will be done during Wien*. The 2nd element will be done in same venues as 1st stage. We’ll take the materials generated by the conversational collisions, and apply LD to them via xyz means.
The end of the 2nd, recepie stage, will produce the ingredients for the dish to be cooked on the 3rd part of the Food Collider triptych.
The 3rd element is where people will work out how to cook the ingredients. They’ll be able to work out the overall nature of the dish – eg salad, rice, broth, etc., and how to apply the ingredients to that process. As with the 2nd element, Food Collider is open as to How people deside these things. However, for the purposes of demonstrating how the collider operates, we’ll use LD methods to do the descision process.
To ensure & assist further Food Collider usage and development, for at least, the next 12 months, we will organise another session of the 1st FC element. This will occur during Wien and towards the end.
Goals (sustained practice/usage?)
Food Collider has a few broad elements:
1. An artistic critique.
2. A questing and questioning of democratic processes.
3. An attempt at sustainable processes.
Food Collider, might seem at 1st to echo relational aesthetics projects which investigated, indeed aesthetisised, the democratic – or lack of – relationships between people the projects involved. Unlike such projects Food Collider is not interested in the relational values between people taking part, nor the possible relational values that might – or might not – emerge via the processes involved. The interest, indeed the aesthetics, in Food Collider is the practicing of collisions, a mass, a noise, an unformed messy social material that can be used by people, groups, initiatives, organisations, etc. as they might please.
The social element is also a critique of thew Beuysian notion of Social Sculpture – which arguabley, see Bishop, has informed/influanced/been-imitated-by relational projects. This critique is precisely in the way we will do a social material production, rather than be interested/focused upon the production of the social structure/sculpture.
Food Collider, in that sense, also provides a critique of the capitalistic usage of social sculpture techniques, and relational aesthetics’ related language, within the current swell of social networks on the internet in general and their capitalistic perceptions in particular.
Therefore Food Collider is neither a project, nor an object, or an effort but a potential practice. We will begin the practice with making cultural food stuff based on material generated by people discussing how is it to be a certain kind of food stuff. How is it to be Bread? Rice? An Olive? A wild boar? etc.. These collections of stuff. noises, food-based cultural material, can come via many substances, discurssive, poetic, algorithmic, musical, programmatic, situational, to name a few. Food Collider will accomodate for all forms food might be collided via people or other means.
The initial usage of Liquid Democracy of the material produced is simply to begin the practice, not an integral, immanent element of the Food Collisions it will bring in the future. That is why Food Collider will be open for other usages, other aesthetic interpertations of the noise material it will produce and keep making.
Democratic processes are evolving practices which we, as a society, a political body, artistic freedom seekers, and aesthetics creators, discover & make as we go along. As a Deluzian becomming, democracy has no “it” but a process to be. It’s never “there”.
With the notions of continues discovery and of noise in mind, Food Collider is bent on creating noise and processes which question, challenge and expand the very practice of doing democracy.
to do that * we do transprency of process, so that people can see how its done + add their own processes. To top that we also question the values of voting and the focus on voting as a performance, a spectacle whi
Food Collider offers, but does not impose, sustainable practice. Indeed, the idea is to give it a year for evolving within communities and individuals to allow new ways of sustaining the collider.
We think that because it is a fun practice, to imagine the Being of food and creating dishes based upon these imaginings, will make the Food Collider into a new cultural technology that, like painting, cinema, and theatre – to name a few – will sustain itself. However, since all forms to mature require a practice, we aim to give it a year of a practice-based-research in a way, which will provide Food Collider a kick to begin life, evolve and be sustained by its practicioners.
Growable Democracy Generator is a process by which people generate through discussions notions of what is it like to be stuff that grows, banana, tree, shrub, etc.
The discussions are documented and form the material for possible democratic theatrics. To begin with, we’ll use theatrics of Liquid democracy for the duration of the initial 2 weeks (dates??) However, with the assistance of a globsal network and local radio & venues, we will generate material for democratic theatrics during the following 12 months.
tell the story of food, it’s production and consumption from the point of view of the plant, animals, animate and inanimate processes that constitute the sytem of food production that supports us. These stories will be sourced and recorded,
The democratic participants, that is the “audience” will be able to delegate their votes to representative that they feel are best able to speak for components of our global food production – speakers that show the best deep understanding and empathy of the science and soul of these processes will be selected to take part in the final performance.Who can speak for the soil, the earthworm, the tractor, for asparagus?
a speakers corner, a soup, a stew, a feast
What is it?
Ideas to realise
I want to make a mobile app.
Points of focus
3. Results (max. 3000 characters)
Short description of the expected outcome of the project (e.g. exhibition, publication, action in public space, workshop, presentation, …)
A mobile and tablet app – Soup / Blender 4D / Food Collider – which will have Liquid Democracy of Food. The app will also curate / display the noise archive + the live radio programme.
Food meets – supper clubs, events in cafés and a theatre?
What is it going to be?
4. Project goals (max. 2000 characters)
Short description of the project’s goals (what should the project achieve beyond WIENWOCHE, e.g. awareness, visibility, knowledge production, collaborations, a product, …)
Goals (sustained practice/usage?)
5. Target groups (max. 1500 characters)
Short description of the project’s target groups (who is the project directed towards, who should be addressed with it or motivated to participate, and why?)
6. Work methods (max. 1500 characters)
Short description of the work methods of the project (how and with whom will the project be developed?)
7. Strategy for communication / publicity (max. 2500 characters)
Short description of the project’s strategies for reaching the public, media, individuals or groups. (How and through which channels or media should who be reached? How should the project objectives be conveyed to the target groups?)
8. Time plan
9. Cooperation partners
(In the case of any)
Class War Games – Stefan Luchinger
The People Speak
SOAS – Anthroplogy of Food – http://www.soas.ac.uk/courseunits/15PANC013.html
Also else where?
(See budget guidelines)
Taking conversations, distributed, layered, multifaceted, recorded through mobile powered in-situ debates, in and around Vienna, and networked to distant geographies – the Sound Parliament uses a democratic architecture to process the collected sounds in order to create a sound space composition to be performed in Wien Woche.
The recording of the conversations are fed through an democratic Pure Data (MaxMSP) architecture, in which they are layered, distorted, sampled and scratched. The stages of the processing are voted on using Liquid Democracy techniques in order to create / recreate emotions and impressions of the participants. The parliament of elected sounds are then performed in
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