Broken dependency - danja vassiliev "Broken dependency" proposes an experience of taking a control on another person by physically connecting to the immaterial image. The image represents a person who interacted with the installation before and by doing so left his/her snapshots in the system. By pulling the strings you can play a 'puppet' of your predecessor. In the future person from the screen will become your opponent - 'force-feedback' engines will take the notion of 'control' to it's illusionary borders. said k 15:360 comments
Automatic Cut-up (type)Writer - michael van schaik The Automatic (type)Writer gives an insight into the unwritten stories of writers before us. It reveals the hidden messages in their writings by reading them using non-linear cut-up techniques. It's possible to have a session with any writer, recorded by the typewriter. said k 15:230 comments
annemieke van der hoek “hey, this is Annemieke speaking, This mysterious telephone guide you are using now, is my project for the makedo exhibition. I transformed this old telephone into an exhibition guide. It plays personal messages, recorded by the participants of this exhibition, and the one you're listening to now is mine. Also it's possible to make comments on the exhibited projects and play them back. This you can do for each participant individually, or you can also dial a number at random. So I hope you have fun with it, and please do leave some messages! Thank you! bye!” said k 15:220 comments
interupts, in the world of computers, are exactly what they sound like.
an interrupt interrupts whatever the CPU is doing, and makes a (small) piece of program-code be executed, especially for that interrupt, then returns to the normal flow of events, as if nothing happened.
interrupts come in two pieces, the 'trigger' (this is a signal, connected to a pin on the CPU, or maybe some signal internal to the CPU) which is the 'hardware' side of the interrupt, and the 'handler' , this is a function, especially written to be executed once for each 'trigger' that occurs. the 'handler' is the software-side of the interrupt. In order to make use of interrupts, usually all you have to do, during the setup-phase of your program, is to associate a 'handler' function with a 'trigger' signal. this step is called 'registering' the interrupt.
the 'main' program is interrupted when the 'trigger' arrives, the 'handler' is executed, and then the 'main' preogram resumes, unaware tha anything happened. this 'unaware' bit is important. this means that, in order for the interrupt to actually do something useful, the handler must either change some variable in memory, so that the mian loop can detect that the interrupt occured, or the handler must do everything that is to be done with the event that triggered it.
This is the ONLY way to handle events in 'real time'. This means; 'to make software react to things that could happen, AS they happen.'
otherwise, the software can only check if some event happened, by checking if the event is happening, in a loop. but, if multiple possible events need to be checked for in the loop, and some of these events are really short, it is possible that the main loop can miss an event. (the event happend in between two checks!).
The Arduino can register only 2 interrupts, and only on pin2 and pin3!!! Silly thing!
(for added confusion, for pin2 you must register interrupt '0', and for pin3 interrupt '1')
This means, that you must connect the encoder-thingy to inputs 2 & 3 (& 4) instead of 10, 11 & 12.
I'm sorry that i didn't realize this before.
i suggest you connect the red wire (the pushbutton) to pin2, and the yellow & blue wires to pin3 & pin4. WITH their resistors!
the black wire stays connected to GND, and the transistor should stay there, on pin13, too.
maybe you can carefully break the row of pins in two, between pin13 (the transistor) and 12 (the red wire + resistor). carefully un-solder the point where all three resistors are connected to the +5V pin. then bend the resistors over, so that they sit on the other side of the pin-strip, turn it around, and plug it in so that red (was pin12) -> pin2 yel/blu (was pin11) -> pin3 blu/yes (was pin10) -> pin4
then still, the other side of the tree resistors come together and get connected to the +5V pin. if the trick outlined above works, then you'd only have to re-solder the +5V connection of the three resistors. i hope! ...
then for the interrupt-handlers: write a function for handling the 'knob pushed/released' events.
said k 15:470 comments
about presentations… use a slide projector do not use a small font do not fill the screen with text do not write exactly what you say
know your own project know your own presentation look up from your notes be confident do not try and read from a print out text
if you are lost: click next and the slides will help [design your presentation with this in mind]
rehearse [in front of people] seriously! time and pace yourself
you want to be able to: show process + talk theory + demo without running out of time
keep your cool
spend enough time [1 hour pr minute]
start with a title… and your name
make clarity your priority your second slide should be a one to two sentence statement of intent/concept be prepared to read this out this is where you state the rules of your game
do not be afraid to repeat yourself unpack your own argument tell them what you will say, say it and then tell them what you said you are here to communicate
talk about related work where are your ideas coming from? who inspire you? who walked this way before you? how are you different?
use images… embed sound files and video if you can use links to web pages
construct your slides so that the arguments come in the right order the order that you like for your story this is important and hard rehearse and check, then double check.
talk about your work as if you care commit yourself why should I care if you don’t?
think about what you want out of the presentation do you have questions? how does this project fit into your body of work? what did you learn? how would you like your work to evolve? how can we help you?
never apologize / never undersell if you get lost or flustered: look at the screen, did you say that already? if yes press next and say what is on that slide.
breathe find your pace
sleep the night before eat breakfast be on time check that everything works before the presentation if you need sound make sure that you have sound etc.
presentation: title/name statement … theory related work process implementation issues questions … website/name
AND email or phone me if you are lost
said k 13:590 comments
from stock's outbox... you can also combine a normal resistor with an adjustable resistor.
for example, if you combine a 4.7kOhm fixed resistor (yellow-violet-red-gold) with a 0 - 15kOhm adjustable rsistor, the TOTAL resistance will be adjustable between 4.7kOhm and 19.7kOhm.
since 4.7kOhm worked well in a medium-light room, and 15kOhm might be too low resistance for a totally dark room (i am assuming you did try it with those adjustable resistors, and had them turned all the way 'up' ???) then a range from 4.7k to 19.7k might just work.
Leadbeater, C. Miller, P. 2004. The Pro-Am ethic. In The Pro-Am Revolution – How enthusiasts are changing our economy and society. Demos. http://www.demos.co.uk/catalogue/proameconomy/
Levine, R. Locke, C. Searls, D. Weinberger, D. 1999. The Cluetrain Manifesto. http://www.cluetrain.com/
from stock's outbox... s: The main issue I have now is that the quality of sound is really bad (I mean, you can't hear what it is, it's totally distorted by noise). That could be explained maybe by the fact that analogRead() runs at less than 1 kHz. So in the end it might be impossible to achieve something even near good.
That's not very good, no. The sampling-theorem says thet the highest signal frequency you can sample is 1/2 of the sampling-frequency. so at a 1kHz sample-rate, you could theoreticaly sample sound upto 500Hz. that's not much, but the human voice, for instance, is mostly between 300Hz and 600Hz (for adult men...) ...
s: The other issue might be the way the sound is output. The value sent to the PWM is between 0 and 255 and it sends a modulated voltage to the speaker between 0 and 5V (at least that's what I guess).
Yes. true... BUT! the analogWrite() command only lets you set the PWM duty-cycle.
if you want to use PWM for sound-output, you are basically building a 'digital amplifier' that's possible to do, but you need two important things then:
1) the PWM frequency must be 2* the highest frequency you want to produce (again from the sampling theorem) much higher is even better.
analogWrite() does not let you change the PWM-freq, but there IS a way to do this. it probably involves writing data to a ATmega168 register....
Ah yes. it's 'TCCR1B' the 'Timer/Counter Control Register for Timer1, channel B'
see also the ATmega168 datasheet, chapter 14 http://stomach.v2.nl/Docs/hardware/DataSheets/MCU/AVR/ATmega48_88_168.pdf
2) you need to build a simple FILTER between the PWM-output and the speaker. this filter should remove the PWM-frequency itself, but allow the modulated siganl to pass on to the speaker.
this is a simple RC filter:
Where R1 and C1 form the filter.
What will happen is that the PWM-output will charge the capacitor C1 to a certain voltage, which is dependant on the PWM duty-cycle. If the duty-cycle is 50% (i.e. analogWrite(127);), the voltage on C1 will be 2.5V
the C2 capacitor is there (again) to remove the DC-offset from the signal-path to the speaker. ...
Now for the component values. In order to get a bit decent signal, R1 should be 8Ohm or less. (or else you will lose almost all energy in the filter, instead of the speaker!) try with an R1 of 4Ohm for a start. (you can probably get 4x 1Ohm resistors from Danja, he got some today!)
Then the RC-time of your filter should be more than the PWM-period. (that means, that R1 (in Ohm) times C1 (in Farad!) must be greater than the PWM-period (in sec!)
If you manage somehow to set the PWM-freq to 20kHz, for instance, you want a filter with a 'central frequency' of 10kHz. then the RC-time should be 0.1ms = 0.0001 sec. if R1 is 4Ohm, then C1 must be (0.0001 / 4) Farad = 25uF (use 22uF)
Then again, at higher PWM-frequencies, C1 can be smaller. at Fpwm of 30769Hz (the maximum, i think...), you want an F0 of 15kHz -> RC-time = 0.066666 ms. -> R1 = 4Ohm and C1 = 16.666uF (use 16uF)
Also, to get a proper signal to the speaker, C2 must be much larger than C1. try 220uF, 470uF or 1000uF for C2. (i have some of those at V2_ if you need...) ...
s: The sound input goes from 0 to 1023 with a mean around 510. I wonder if 0-5V is really what should be sent to the speaker, or maybe it should be different (like, say, -2.5V to 2.5V) ?
That should be automatically OK now. you still have to SCALE the input-signal to the output-signal. Assuming you can get a full input-swing from 0 to 1023, then your PWM-value should be your input-value / 4
But you could also divide by less-than-four to get a louder signal, at the risk of distortion. if you do this, you mist keep the input-values centered on 511, and the output-values on 127. out = 127 + ((in - 511) / factor); (where factor is between 1 and 4, inclusive) ...
s: The reason I'm thinking about this is I realize that even when I cut the sound of, I still hear a noise. Also, if I call analogWrite() (ie. the speaker) with a value bigger than 0, the speaker emits a constant noise. That is the unfiltered PWM-frequency you hear, it's set to 490Hz per default!
s: Basically, I think the solution would be to find a way to center the output of the PWM around 0 V.
Yes. C2 in the circuit above will do this for you ;-)
s: So maybe a circuit with twin resistors would do it? Should go from -2.5V to 2.5V instead of 0 to 5V.
Yessss..... Um... Effectively, R1 in the circuit IS a 'twin resistor', because part-of-the-time it is connected to +5V, and the other-part-of-the-time it is connected to GND. changing the ratio between these two times (i.e. the PWM-duty cycle) will have the same effect as cross-adjusting the resistor-values.
said k 15:590 comments
Ángel Faraldo / E.E. Cummings / Byungjun + Kown Min Seok / Desh Chisukulu & Vignir Karlsson
The mouth could be the most subtle interface that one has under control in one's body. We speak, express, kiss, eat, drink, breathe, smoke, and sing with mouth. "Blow Blue Blown" is the night of Electronic music consisting of four different tastes that you can't get everyday focusing on mouth as a musical interface. You may experience the various live electronics mixed with singing, poetry, new & conventional blow instrument, rap and etc.
Date: Tuesday May 29 Venue: STEIM, Utrechtsedwarsstraat 134, Amsterdam Time: 20:30h Entrance: free
said k 14:430 comments
concert may 30 STEIM's Local Stop will again feature a mix of local and visiting artists - combining video, composition and live performance: * Gilberto Bernardes performing compositions by and with composers Hillary Zipper ('place untouched by the sun in the winter ') and Ken Ueno ('WhatWall') * Bruce Tovsky - Underpass - with Hilary Jeffery, Ivo Bol & Robert van Heumen * PRAED's audio-visual performance
Date: Wednesday May 30 Venue: STEIM, Utrechtsedwarsstraat 134, Amsterdam Time: 20:30h Entrance: €5 Reservations and more information: knock@steim.nl or 020-6228690 [let me know if you want to be on the guest list]
said k 23:270 comments
mobile music - URGENT! if you are around sunday the 6th and/or tuesday the 8th. i would strongly advice you to attend te mobile music workshop hosted by the waag and steim. more information here: http://www.mobilemusicworkshop.org/ if you want to come, email me as soon as possible and i will *try* to put you on the guest list.
also there is an interesting concert at steim saturday the 5th: Sainkho Namtchylak (RU/AT) + Joel Ryan (US/NL) Daisuke Ishida (JP/DE) Venue: STEIM, Utrechtsedwarsstraat 134, Amsterdam Time: 20.30
also after the workshop on sunday there is an event at mediamatic: It's HAPPENING now! zondag 6 mei 2007, 20.00 - 24.00
all together its a good weekend in amsterdam!
said k 10:140 comments
homework for the 10th essay draft: * abstract and outline of argument/idea. * literature review: the texts and quotes you are working with [no less than 3] including your thoughts and analysis about them. + * anything else you have that you think is relevant.
i am expecting 1000 word minimum and i need you to email me the text before the 10th. no excuses... email me if you are stuck.
said k 16:112 comments
what we did... * talk about experieces as research and result * write down your idea centered in an object * speed dating: talk to everyone about your idea * think of ways to prototype your idea over spring break
- Online Registration is now open - Deadline for early registration: 1 August, 2007
said k 12:10
friendly and melodic electronica at STEIM Sven Kacirek (live) A.J. Holmes aka Vanishing Breed (live) DJ: Andreas Otto & Nils Dittbrenner
Date: Sunday, April 29 Venue: STEIM, Utrechtsedwarsstraat 134, Amsterdam Time: 20.30 hours Entrance: 5 euros Reservations and more information: knock@steim.nl or 020-6228690
The label Pingipung from Lüneburg / Germany releases friendly, melodic Electronica since 2001. They come to STEIM with two of their artists to perform while the label-founders Andreas Otto and Nils Dittbrenner will present their most beloved records from the turntables before and after the shows.
Sven Kacirek (Hamburg) is a virtuoso Jazz- and Drum’n’Bass-Drummer who has released his first solo-album “The Palmin Sessions” on Pingipung this year. He substitutes his drum set for paper, wood, and glass (which he gently plays with brushes) as well as some toys and a marimba which he samples and processes to eventually show up with a beautifully woven minimal-electronica-sound
A.J. Holmes’ (London/Berlin) upcoming album “The King Of The New Electric Hi-Life” will be out on Pingipung in this summer. Hi-Life, or ‘Highlife’, is a musical genre that is originated in Ghana, Sierra Leone and Nigeria starting in the 1920's and which is still very much alive and developing to this day. It is a hybrid of African and European music styles, of which A.J. Holmes especially features the typical euphoric guitar-picking style. He will perform with a guitar, his voice, and live-looping equipment. A.J. Holmes has released his debut album “Between Arrival And Departure” under the artist-name of “Vanishing Breed” on Pingipung in 2005.
Links: www.pingipung.de www.svenkacirek.de http://www.myspace.com/ajholmesthekingofthenewelectrichilife
said k 15:380 comments
date change please note that the teaching day on thursday the 17th of may has been moved to monday the 14th of may.
said k 15:130 comments
50 words sofian: "It is driven by a rule that makes it favor the company of others... up to a certain point! This factor varies depending on its humor, the seasons, and for how many time it has enjoyed company or loneliness." annemieke: "This you can do at the entrance of a house or building, but also for rooms in a building. This last thing based on what was written on the paper: that you could try to monitor peoples positions in a building." linda: "the path of objects being altered and moderated in order to prevent them from being used in the 'wrong' way and thus eventually ending up making the objects useless."
missing: ricardo, danja, marie. maybe missing: michael...?
said k 20:372 comments
what we did today * michael talked about making sense of experience.
* the line of opposites...
* getting to know someone else as a writer...
* reading together: read one text through the perspective of another...
* presentations of insights at the harbour [no pictures].
said k 20:532 comments
for next week 50 words about an object that adresses *that* feeling, desire or fear...
note: this wont make any sense to you if you were not there - email me!
said k 08:410 comments
reading Michael will try to say something interesting about: "Making sense of experience" P.Wright, J. McCarthy, L. Meekison
*make sure you have read the text before the class*
said k 08:400 comments
what we did today * Linda talked about the work of Raby and Dunne * examples of DIY sites and projects online * presentations of box projects * playing with sound: radios, speakers, microphones, contact mikes, coils and crackleboxes * brainstorming: idea swap
said k 08:330 comments
for next week * turn your kit and / or your pixel into something - fit it into a box or and object/body + give it purpose. * make a blog like site for the project: document your object * bring an old battery powered radio or sound toy... [electronic objects from the 80'es and 90'es are best] said k 07:160 comments
what we did today * introducing the reader * talk about active objects * learn to solder: portable pixel and kits * make your kits into something said k 15:210 comments
tiny bit of theory Battery Electricity is a lot like water. voltage = preasure current = flow A battery is a source of electricity. A chemical reaction inside the battery absorbs electrons at the + pole, and delivers electrons to the - pole.
Resistors. A resistor restricts flow, like a narrowing in a water pipe. Ohm is the unit of resistance. The coloured stripes indicate numbers like this: black = 0, brown = 1, red = 2, orange = 3, yellew = 4, green = 5, blue = 6, violet = 7, gray = 8, white = 9. The metal stripes indicate level of precision like this: silver = 10%, gold = 5%, red = 2%.
LED A Light-Emitting Diode (LED) lets current flow through in only one direction, and emits light when current is flowing. LED's sometimes have the cathode (the -) marked with a flattened edge, and usually have the anode (the +) leg being longer than the cathode leg. Always have a resistor between a power source and the LED or you will risk burning the LED out.
said k 22:210 comments
how to solder *Touch the hot iron to both the component lead that is sticking up through the board and the copper solder pad on the board. You want to heat both these elements up. *Touch the tip of the solder wire to the iron quickly to make a good connection. *Touch the pre-heated tip of the solder to the OTHER side of the component lead (from the iron). You have the solder, then the component lead in the middle, and then the iron on the other side. It should only take a few seconds for the solder to flow. It's very important that the iron is clean and hot and that you're heating both the pad and the leg at the same time. *When the solder flows and you have a plump little mound of solder, pull away the solder wire first and then the iron. If you pull away the iron first, the solder will cool and weld the solder wire to your solder point. *Remember: - Keep an eye on the soldering iron [don’t leave it on when you leave the room]. - Keep a window open if you can.
welcome... This thematic project is an opportunity to turn away from the universal machine for a moment. The complexity and malleability of the personal computer means that it can be turned into anything but also that it is itself nothing, a shadow underneath the processing and its representations.
We are leaving the screen and the scrolls of code in order to focus on the making of a technological object from the bottom up. These technological objects may be high-tech or low-tech, but they will all be active or interactive tangible objects. Interaction is a mostly depleted term on its own; we will not make interactions just for the sake of it. Instead we will aim to create emotionally engaging experiences anchored in the meeting between human and thing.
Our definition of what constitutes such an object lean on the dictionary definition of artifact as an object made by a human, a tool, weapon, an ornament, a product of human conception or agency. But also an inaccurate observation, effect, or result, especially one resulting from the technology used in scientific investigation or from experimental error: The apparent pattern in the data was an artefact of the collection method.
The value of an object is determined not only by its status as a humanly created artefact, but also by its role in a larger system of objects and things. Objects activate or engage their environments in a constant balancing act of meaning and possibilities. Deeply engaged with the systems of the world; it will occasionally turn around and change the very nature of that system.
We will use our own senses to experiment and record the meetings between the object and us. We will read and discuss texts on making, experiencing and developing and while we do so we will keep our hands busy with the actual making. We will treat an idea as if it was clay; we will redo and undo, start all over and approach again from another angle.
Open-ended making is of course a form of play - keeping in mind that playing is not necessarily light-hearted or fun; but rather a way of approaching a particular space and a set of rules. In that sense games are integral to methods like mock-ups, cultural probes and experience prototypes. We will make use of these ideas to mould the experiences we want to create.
During the project we will adopt a DIY attitude to learning and making, keeping in mind that if it sounds good and doesn’t smoke, don’t worry if you don’t understand it* and that the things that people have made themselves have magic powers. They have hidden meanings that other people can’t see **.
We will attempt to create actual instances of thought.
We will look for and accept fragility, openness, the possibility for failure, playfulness, responsibility, trust and risk. Asking:
Are you here? Are you awake? What is to be done?
* Nick Collins ** Ulla-Maaria Mutanen.
said k 15:040 comments
Reader [in alphabetical order] Beuys, J. 2006. Questions to Joseph Beuys. In Joseph Beuys, The Multiples edited by Jorg Schellmann. Schellman Editions
Brotchie, A. And M. Gooding, 1995. Objects. In A book of surrealist games, Shambhala
Brucker-Cohen, J. Gaya, L. Goodman, E. Hill, D. 2004. Panel: Design for Hackability. Proc. DIS2004, ACM Press New York
Buchenau, M. and Fulton Suri, J. 2000. Experience Prototyping, Proc. DIS 2000, pages 424-433, ACM Press, New York
Caillois, R., 1961 (orig. 1958). The Definition of Play and The Classification of Games in Man Play Games, translated by Meyer Barash, Pages 3-35. University of Illiniois Press
Collins, N. 2006. Laying of Hands in Handmade Electronic Music. In The Art of Hardware Hacking. Routledge, New York
Gaver, W., Beaver, J., and Benford, S. 2003. Ambiguity as a Resource for Design, CHI Letters, Proc. CHI 2003, pages 233-240, ACM Press, New York
Gaver, B., Dunne, T., and Pacenti, E. 1999. Cultural Probes, Interactions Volume X, Pages 21- 29 ACM Press, New York
Dourish, P. 2001. “Being-in-the-World”: Embodied Interaction. In Where the Action is: The Foundations of Embodied Interaction, MIT Press, Cambridge, MA.
Droit, R. P., 2002. 3 examples from 101 Experiments in the Philosophy of Everyday Life. Faber and Faber
Dunne, A. 1999. The Electronic as Post Optimal Object. In Hertzian Tales: Electronic Products, Aesthetic Experience and Critical Design. RCA Computer Related Design Research
Goldberg, R. 2000. Various extracts from Laurie Anderson, Thames and Hudson Ltd
Holmquist, L. E. 2005. Representations, Mock-Ups, and Prototypes. Extract from Prototyping: tilden ns ideas or cargo cult designs? Interactions Volume 12, Pages: 48 – 54, ACM Press, New York
Huizinga, J., (orig. 1950). Nature and Significance of Play as Cultural Phenomenon in Homo Ludens: a Study of the Play Element in Culture. Pages 1-27. Beacon Press
Jalopy, M. 2005. The Maker’s Bill of Rights. Extract from Own Your Own. Make04. http://www.makezine.com/04/
McCarthy, J., Wright, P., Wallace, J., and Dearden. A., 2005. The experience of enchantment in human-computer interaction, Personal and Ubiquitous Computing Volume 10, pages 369-378, Springer-Verlag, London
Mutanen, U. 2005. Crafter Manifesto. Make04. http://www.makezine.com/04/manifesto/ Pope, S., 2000. Starting. In London Walking, a Handbook for Survival. Pages 13-21. B.T. Batsford Ltd
Ruhe, H. 1979. Various extract from Fluxus: the Most Radical and Experimental Art Movement of the Sixties, Amsterdam
Stewart, S., 1993. Objects of Desire. In On longing. Narratives of the Miniature, the gigantic, the Souvenir, the Collection, Duke University Press, Durham and London
Sutton-Smith, B., 2001. Play and Ambiguity. In The Ambiguity of Play. Pages 1-9, Cambridge MA: Harvard University Press
Twenebowa Larssen, A., Robertson, T., Edwards, J., 2007. The Feel Dimension of Technology Interaction: Exploring Tangibles through Movement and Touch Proc. TEI’07. ACM Press, New York
Whitehead, A. N. 1920. Objects. In The Concept of Nature. Cambridge University press, 2nd ed. Dover, 2004.
Winnicot, D. W., 1971. Theory of Play. In Playing and Reality. Pages 47-52. Routledge
Wright, P., McCarthy, J., Meekison, L., 2003. Making sense of experience. In Funology: From Usability to Enjoyment, Blythe, M., Monk, a., Overbeeke, K., and Wright, P., (eds), Pages 43-53, Kluwer Academic Publishers, the Netherlands
said k 12:060 comments
[contact: k at this domain]
who
Thematic Project Media Design
Piet Zwart Institute
5 April introduction and portable pixel
12 April diy electronics and prototypes
19 April experience prototyping
26 April object proposals and presentations
3 May spring break
10 May basic electronics theory and sensors hand in essay draft
14 May prototype making
24 May interim presentation
31 May thesis and tech doctor
7 June installation advice
14 June making things work hand in website
21 June final thematic project presentations
28 June building up show hand in essay
30 June exhibition opening
who
