tag:textures.posthaven.com,2013:/posts temporal textures 2019-05-27T17:04:37Z Xin Wei Sha tag:textures.posthaven.com,2013:Post/1413750 2019-05-27T17:04:37Z 2019-05-27T17:04:37Z place, narrative, mobile technologies, background for
Dear folks interested in place, narrative, mobile technologies,
(who may be interested in working with Robert Brandon and me on an NSF SCC pitch,
or with me and Canadian allies toward the large Canada Infrastructure Ecosystems competition)

Steven Tepper sent this article:

Experiential Data for Urban Planning
Federico Casalegno, Amar Boghani, Catherine Winfield
Innovative Technologies in Urban Mapping pp 73-80

This raises in turn the deep question of how narrative structures work to condition experience.
One way to think about "narrative structure”in a way that is more ample and futile for our research-creation is a configuration of marks or signifiers that condition the experience of the visitor.  These can be not just words on a printed page, but the arrangement of objects in space, or of gestures in an event, 

Of course, Stacey M can expand on this a lot more deeply and broadly than I can, but as a starting point, some resources could include:

Paul Ricoeur
The Human Experience of Time and Narrative

Mikhail Bakhtin
The Dialogic Imagination: chronotope and heteroglossia
Problems of Dostoevsky's Poetics: polyphony and unfinalizability (and carnivalization)

Aporetic experiences of time in anti-narrative art†
https://www.tandfonline.com/doi/full/10.3402/jac.v7.28310

The Narrative Reconfiguration of Time beyond Ricoeur
Jonas Grethlein Heidelberg University
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.890.7898&rep=rep1&type=pdf

Mneme, Anamnesis and Mimesis: The Function of Narrative in Paul Ricoeur’s Theory of Memory
Ridvan Askin
http://interamerica.de/current-issue/askin/

And in a lighter vein:

Beyond the Narrative Arc
By Jane Alison March 27, 2019
https://www.theparisreview.org/blog/2019/03/27/beyond-the-narrative-arc/

Mobile Technologies and Changing Spaces of Reading
Brian Greenspan, DH Quarterly
http://www.digitalhumanities.org/dhq/vol/5/3/000103/000103.html


At the least, if we can think of narrative structures as more than a unidimensional “story” arc this may open up richer dialogue with experimental architecture, dance, performed music, post-dramatic theater, responsive environments, mobile technologies.


Contact me if you’re interested — I have a window now till June 18.
Xin Wei
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tag:textures.posthaven.com,2013:Post/1363595 2019-01-15T14:21:34Z 2019-01-15T14:21:34Z Evan Thompson et al: The Blind Spot of Science Is the Neglect of Lived Experience

Aeon 8 Jan 2019 essay "The Blind Spot of Science Is the Neglect of Lived Experience"
by Adam Frank, Marcelo Gleiser, Evan Thompson

The problem of time is one of the greatest puzzles of modern physics. The first bit of the conundrum is cosmological. To understand time, scientists talk about finding a ‘First Cause’ or ‘initial condition’ – a description of the Universe at the very beginning (or at ‘time equals zero’). But to determine a system’s initial condition, we need to know the total system. We need to make measurements of the positions and velocities of its constituent parts, such as particles, atoms, fields and so forth. This problem hits a hard wall when we deal with the origin of the Universe itself, because we have no view from the outside. We can’t step outside the box in order to look within, because the box is all there is. A First Cause is not only unknowable, but also scientifically unintelligible. 

The second part of the challenge is philosophical. Scientists have taken physical time to be the only real time – whereas experiential time, the subjective sense of time’s passing, is considered a cognitive fabrication of secondary importance. The young Albert Einstein made this position clear in his debate with philosopher Henri Bergson in the 1920s, when he claimed that the physicist’s time is the only time. With age, Einstein became more circumspect. Up to the time of his death, he remained deeply troubled about how to find a place for the human experience of time in the scientific worldview.

These quandaries rest on the presumption that physical time, with an absolute starting point, is the only real kind of time. But what if the question of the beginning of time is ill-posed? Many of us like to think that science can give us a complete, objective description of cosmic history, distinct from us and our perception of it. But this image of science is deeply flawed. In our urge for knowledge and control, we’ve created a vision of science as a series of discoveries about how reality is in itself, a God’s-eye view of nature.

Such an approach not only distorts the truth, but creates a false sense of distance between ourselves and the world. That divide arises from what we call the Blind Spot, which science itself cannot see. In the Blind Spot sits experience: the sheer presence and immediacy of lived perception.

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tag:textures.posthaven.com,2013:Post/1337408 2018-10-29T18:58:11Z 2018-10-29T18:58:11Z Re: light cast through water
Thinking about this theatrically/cinematically, I'm visualizing seeing the shadow of a figure entering and growing in the space and only later seeing the relatively diminutive source of the shadow. Translating this to the animated lamps, we should see the play of the light in the space and through the atmosphere as the primary dramatic effect and only secondarily see the lamps themselves. This could be accomplished by making relatively narrow fields of view in which they would be directly seen. 

I would emphasize fade effects and movements of light between lamps over strong flashing patterns. I think this will add to the sense of volume (thickness) and be more friendly for long term inhabitants of the space. 

If we want to add "texture" to the mist/light volume, we could use video projectors to produce higher resolution structured light. 

Alexia, I'm happy to meet with you and work through some of these ideas together. 

Best,
Byron

On Mon, Oct 29, 2018 at 7:04 AM Peter Weisman <peter.weisman@asu.edu> wrote:

I will connect with Theatre about their availability to make the frames. Please keep in mind, this will splatter water all over the floor.

 

Pete

 

Peter M.Weisman

Technical Director

Arizona State University

School of Arts, Media and Engineering 

P.O. Box 875802

Tempe, Arizona 85287-5802

P: 480-965-9041

 

 

From: sxw asu <sxwasu@gmail.com>
Date: Saturday, October 27, 2018 at 4:10 AM
To: Peter Weisman <peter.weisman@asu.edu>, Connor Rawls <Connor.Rawls@asu.edu>, Alexia Lopez Klein <Alexia.Lopezklein@asu.edu>
Cc: "Yanjun Lyu (Student)" <ylyu16@asu.edu>, Brandon Mechtley <bmechtley@asu.edu>, "Andrew Robinson (Student)" <Andrew.Robinson.1@asu.edu>, "sxwasu@gmail.com" <sxwasu@gmail.com>, Byron Lahey <Byron.Lahey@asu.edu>, "post@textures.posthaven.com" <post@textures.posthaven.com>
Subject: light cast through water

 

Pete, Connor, Alexia, Byron,

 

Nima and Thierry in TML Montreal suspended the pool of water overhead, stirred by max-controlled motors, and cast light through the water :

 

 

Goal : 

Let’s try suspending one (ideally three) of our “cloud  nurseries”   so we can test them as light sources modulating the felt experience of a volume of space.  The light sources can be our Source 4’s.

 

Can we map Alexia’s control patch and give her access to the misters?  I’d like to see what she can do.   Then  we can map them into the sc system to modulate them from camera feed.

 

Alexia, Byron, Yanjun can I invite your fresh opinion on this.  What if we do not focus 100% of the inhabitant’s attention on the light fixtures, however mesmerizing they are.  How can we design the effect of the caustics on the airspace in the iStage.   as a function of the state of the environment?  



It’d be interesting to juxtapose this with Garrett’s light games — so we need state engine to swap or even blend state topologies.

 

( Recall the iridescent “mobile” lights that Byron et al suspended in the Brickyard. :) 

 

Xin Wei

 

_________________________

Sha Xin Wei +1.650.815.9962

Director, School of Arts, Media + Engineering | Synthesis @ ASU

_________________________



--
Byron Lahey, PhD
Arizona State University
School of Arts, Media and Engineering
Assistant Professor, Digital Culture
Honors Faculty
byron.lahey@asu.edu
]]>
Byron Lahey
tag:textures.posthaven.com,2013:Post/1336515 2018-10-27T11:10:17Z 2018-10-27T11:10:18Z light cast through water
Pete, Connor, Alexia, Byron,

Nima and Thierry in TML Montreal suspended the pool of water overhead, stirred by max-controlled motors, and cast light through the water :

https://m.facebook.com/photo.php?fbid=10155451613245439&id=512380438&set=a.463313885438&source=48

Goal : 
Let’s try suspending one (ideally three) of our “cloud  nurseries”   so we can test them as light sources modulating the felt experience of a volume of space.  The light sources can be our Source 4’s.

Can we map Alexia’s control patch and give her access to the misters?  I’d like to see what she can do.   Then  we can map them into the sc system to modulate them from camera feed.

Alexia, Byron, Yanjun can I invite your fresh opinion on this.  What if we do not focus 100% of the inhabitant’s attention on the light fixtures, however mesmerizing they are.  How can we design the effect of the caustics on the airspace in the iStage.   as a function of the state of the environment?  

It’d be interesting to juxtapose this with Garrett’s light games — so we need state engine to swap or even blend state topologies.

( Recall the iridescent “mobile” lights that Byron et al suspended in the Brickyard. :) 

Xin Wei
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tag:textures.posthaven.com,2013:Post/1332590 2018-10-15T17:10:43Z 2018-10-15T17:10:43Z Neural networks don’t understand what optical illusions are ]]> tag:textures.posthaven.com,2013:Post/1305119 2018-07-21T17:36:43Z 2018-07-21T17:36:43Z Solitons • exemplary lucid lecture on solitons
by Jeff Murugan

• Introduction to waves and solitons
Gabi

• Why are solitons stable?
Terence Tao



• Rogue Waves in the Ocean, Springer 2009
Christian Kharif, ‎Efim Pelinovsky, ‎Alexey Slunyaev


• Universal Peregrine soliton
http://members.femto-st.fr/john-dudley/en/news/new-paper-universal-peregrine-soliton-published-prl


• Spectral properties of the Peregrine soliton observed in a water wave tank 
A. Chabchoub, S. Neumann, N. P. Hoffmann, and N. Akhmediev
JOURNAL OF GEOPHYSICAL RESEARCH, VOL. 117 (2012)
https://agupubs.onlinelibrary.wiley.com/doi/pdf/10.1029/2011JC007671
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tag:textures.posthaven.com,2013:Post/1300606 2018-07-06T22:42:32Z 2018-07-06T22:42:32Z Synthesis Atmosphere: Chomaz’ mist machines

At LADHYX Polytechnique Paris (the MIT of France ) Jean-Marc Chomaz' Hydrodynamics lab has a wall-scale mist array with hundreds of straws to smooth and focus flow, plus fans driving mist over their water chambers in plexi modules. each module is about 50cm cube, one face w straws. entire wall is about 3m x 3m

it can puff out laminar flows of mist clear across a room about 6m or "discrete" person-sized letters.

it's bordered by fans that protect the formed mist from stray winds so that it can also work outdoors to some extent.

Chomaz and I thought we could collaborate by connecting his mist instruments to sc.

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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1283727 2018-05-15T12:37:59Z 2018-05-15T12:37:59Z Fwd: City Rhythm: Logbook of an Exploration
From Pinar Sefkatli (Universiteit van Amsterdam):

 research publication City Rhythm: Logbook of an Exploration.

 

City Rhythm research was started in 2016 by Prof. dr. Caroline Nevejan, in collaboration with AMS Institute, 6 Dutch cities (Den Haag, Rotterdam, Zaanstad, Zoetermeer, Helmond en Amsterdam), Amsterdam Health and Technology Institute (ahti) and with the students from LDE Minor Responsible Innovation. The research on rhythms in the physical world and in the data world showed that focusing on rhythm and on dynamics in neighbourhoods and in datasets creates new design spaces that can generate un-expected solutions.

 

Thanks to the research grant we received from the Dutch Scientific Research Organisation (NWO), the research will proceed for four more years. The next phase of the research, Designing Rhythms for Social Resilience, will focus on the South-East district of Amsterdam (Amsterdam Zuidoost). DRSR will explore more deeply the rhythms of the neighbourhood from architectural and data perspectives with a PhD researcher from both disciplines, with the main goal of making conclusions on social safety and resilience.

 

We hope that you find the findings of our research inspiring, and that you can get an idea about the upcoming research which will start on July 2018. The publication is also available online, which can be found on TU Delft Architecture Faculty’s books catalogue, BK Books

 


Best wishes,
Pinar Sefkatli

 

De gemeente Amsterdam streeft naar optimale dienstverlening en zorgvuldige afhandeling van e-mailverkeer. Als een e-mail niet voor u is bestemd, verzoekt de gemeente u vriendelijk ons van de juiste adressering op de hoogte te stellen en de e-mail te verwijderen zonder de informatie te gebruiken en te delen met anderen. Voor verdere informatie over de rechten op informatie, zie https://www.amsterdam.nl/proclaimer.

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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1282764 2018-05-12T11:24:08Z 2018-05-12T11:24:09Z Serra idea for how to relate people activity to ecosystem activity… Hi Todd, Oana,

As a first pass to composing relations between people's activity to ecosystem activity…I’m thinking about exemplars of ensemble movements, but under two optics: (1)what people would naturally do as they encounter such a structure in an art event, and (2) ensemble movement that kinetically (formally) happens to resonate with some of the behavior that I see up into the ecosystem,

Exemplar A in people ensemble movement : people start filling up the space, when it has been empty for awhile.

Exemplar A’ in ecosystem movement : all the stuff that happens in transition from night to dawn.

Exemplar B in people ensemble movement : 
People have been milling around for awhile, driving the activity-clock*,  but then they begin to settle down in place (presence under the sky > 1** ).
(But after a while, that activity-clock’s acceleration (second time derivative of clock value) starts to fall to zero)

Exemplar B' in ecosystem movement : a storm builds, leaves silver as they turn under the wind, particles begin to be driven by chaotic wind, in addition to the movement of the leaves.

Of course, in these examples A’ is correlated to A, and B’ to B.   That’s a compositional decision.
The correlation is not fully deterministic, but correlated enough to give Serra a sense of legible response to people activity.

In order to make palpable that there are relations between one self’s activity / presence and the ecosystem, that one is in fact part of the ecosystem, some direct 1-1 logic is necessary, such as:

Exemplars C + C': each person’s movement perturbs the plants corresponding to their location, as if the wake of their passage brushes aside those leaves

I know that as a rule, we do not want to build only 1-1 logics into our piece, bc then that would be merely “interactive art.”  On the other hand, I’d like to avoid the illegibility of "complex systems."   Beesley’s hylomorphic “forests” of fronds: although his installation(s) exhibit complex behavior that has some algorithmic relation to inhabitants' presence and activity as well as the fronds' own states.  Bur after the initial charm wore off, I got bored because (1) the activity was homogeneous over time, (2) the complexity seemed randomly related to my activity.  (He explained that indeed there was a randomizer.)

* activity-clock is a Max patch that has an integer value.  It increments at a default rate per clock time.   However degree of motion (or any parameter derived from sensor data reflecting degree of activity ) increments or decrements that rate.   This simply patch could be re-written as an exercise in elementary Max.    I’d like to use it to drive certain transitions or behaviors in place of simple clocks or line or metro.

** presence can be calibrated so that 1.0 corresponds to 1 human body’s worth of occupancy under the field of view of the camera.   Thus stray smaller objects could sum up to 1.   Similarly degree of motion should be scaled so that 1.0 corresponds to the activity of one person walking about at a pace that we set experimentally by walking under Serra ourselves.

When I see you today, maybe we can start with a quick walk thru of all the different states of behaviour of the ecosystem.  Then we can bought out a bunch of human ensemble activities that we expect, then some transitions corresponding to the emergence of those ensemble activities…  (Every correlation will be naturally continuous.  We can make them seem more triggered simply by changing the response curve to be more like a step function.)

Some obvious human ensemble activities:

D. People move such that there is a general drift along one particular vector.

E. People start to move in a big circle, clockwise or counter-clockwise, with an angular velocity.

F. Gather-Scatter (how closely people bunch together): Connor’s utility.

Xin Wei

_________________________________________________
Sha Xin Wei • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Center for Biosocial Complex Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Associate Editor: AI & Society Journal
skype: shaxinwei • mobile: +1-650-815-9962
Founding Director, Topological Media Lab
_______________________________________________________
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tag:textures.posthaven.com,2013:Post/1275563 2018-04-22T06:50:09Z 2018-04-22T06:50:09Z The Guardian : No hugging: are we living through a crisis of touch?

Thanks to Jessica Rajko

The Guardian : No hugging: are we living through a crisis of touch?

https://www.theguardian.com/society/2018/mar/07/crisis-touch-hugging-mental-health-strokes-cuddles?CMP=share_btn_fb

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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1275560 2018-04-22T06:34:39Z 2018-04-22T06:34:39Z Vortex installation created by the collective teamLab



________________________________________________________________________
Sha Xin Wei • 
skype: shaxinwei • mobile: +1-650-815-9962 • sxwasu@gmail.com
Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Center for Biosocial Complex Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Founding Director, Topological Media Lab
________________________________________________________________________

]]>
tag:textures.posthaven.com,2013:Post/1067531 2016-06-27T14:21:51Z 2016-06-27T14:21:52Z AI's "white guy problem"
AI's "white guy problem" is a special case of a more primordial problem : in general, a priori classification-based algorithms such as learning algorithms all tend to perpetuate existing categories.  Iterated, they  accentuate existing prioritizations.

http://mobile.nytimes.com/2016/06/26/opinion/sunday/artificial-intelligences-white-guy-problem.html?_r=0&referer=&login=email
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tag:textures.posthaven.com,2013:Post/1059299 2016-06-03T10:32:54Z 2016-06-03T10:32:54Z [Synthesis] readings for rhythmanalysis group
(1) The Inert vs. the Living State of Matter: Extended Criticality, Time Geometry, Anti-Entropy – An Overview 
Giuseppe Longo, and Maël Montévil
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3286818/

(2) Emmy Noether
Invariants and symmetry theorems

Simplified version:

Full discussion (book) by Yvette Kosman-Schwarzbach
http://www.math.cornell.edu/~templier/junior/The-Noether-theorems.pdf
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tag:textures.posthaven.com,2013:Post/1044971 2016-05-01T17:15:13Z 2016-05-01T17:15:13Z [rhythm] constantly shifting
Just as culture is underdetermined by (vulgar) economics, and metaphor underdetermined by syntax, rhythm as a special case of ontogenesis and individuation is underdetermined by meter.   This is too abstract.   So, listen for the constantly shifting rhythms between the sound, the breathing, the tensions in the performing body which you feel if you’ve learned play the instrument, against the regular meter.

• Sainkho Namtchylak 
Night Birds (1992)
http://epc.buffalo.edu/sound/mp3/ethno/sainkho/mp3/01.mp3
The longing and elasticity of this is not the same as metric regularity.


• A moving interpretation of the Bach Chaconne performed recently by a friend’s daughter Taiga (Ultan) on flute (starting at 3:08)


Listen for how she must negotiate her breathing against the uninterrupted singing line.   The Chaconne is a masterwork of implied voices.  For the violinist it’s already a great challenge to suggest and carry multipleimplied voices sliding across each other with shifting forces (rhythm!).  It’s an even greater challenge for the breathing flutist.  This young performer accomplishes it with sensitivity. 

( To hear one of the most wonderful performances of this in canonical form — for solo violin: Itzhak Perlman. )


•  Brahms : String Quartet No.1 In C Minor Op.51 No.1 - 1. Allegro ( Emerson String Quartet)

Listen for the elasticity which emerges from the interplay of swelling and fading voices, and the constantly shifting accenting (on top of the metric pulse)  The metric is a background grid that does not (and ought not) constrain the continuous multivalent shifts to fixed discrete choices.

• Example: In Mathematica: Play[|Riemann zeta function|]
This sounds totally otherworldly, not self-similar !, not predictable and not random!!


Multiscale self-similarity — “fractals”in pop literature — is just recursive regularity.   Pavan has some subtle ideas, based on dynamical systems theory, about signatures of human intention in movement, that are neither simple sums of periodic functions nor uniformly random processes.   There are connections between those ideas and spectral theory of operators, I think.  Worth discussion at multiple registers, artistic/ expressive, philosophical, as well as mathematical!

Adam, Pavan, PM me if you’d be ok with being added to this personal rhythm email list…

Xin Wei
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tag:textures.posthaven.com,2013:Post/1044565 2016-04-30T22:08:41Z 2018-01-15T17:16:29Z Goldsmiths : April 23: Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections
For our Rhythm scrapbook:




Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections

April 23, 2016
Goldsmiths London


Organizers: 
Paola Crespi and Eleni Ikoniadou

Participants included

Pascal Michon (KEYNOTE)
“Could Rhythm Become a New Scientific Paradigm for the Humanities?"



RHYTHM and ART
Dee Reynolds
"Rhythmic Seascapes and the Art of Waves"
Paola Crespi
"'Time is Measurable and It's NOT Measurable': Polyrhythmicity in Rudolf Laban's Unpublished Notes and Drawings" 
Bruno Duarte
“Rhythm and Structure: Brecht's Rewriting of Hoelderin's 'Antigone'"


RHYTHM and THE SOCIAL
Ewan Jones
"How the Nineteenth Century Socialised Rhythm"
Mickey Vallee
"Notes Towards a Social Syncopation: Rhythm, History and the Matter of Black Lives"
John Habron
“Rhythm and the Asylum: Priscilla Barclay and the Development of Dalcroze's Eurhythmics as a Form of Music Therapy"


RHYTHM and MEDIA 
Simon Yuill 
and
Bev Skeggs
"Conflicted Rhythms of Value and Capital: Rhythmanalysis and Algorhythmic Analysis of Facebook" 
Sven Raeymaekers
“Silence as Structural Element in Hollywood Films"


RHYTHM and THE BODY 
Laura Potrovic
"Body-Flow: Co-Composing the Passage of Rhythmical Becoming(s)"
Mihaela Brebenel
"What Could Possibly Still Get Us Going: Rhythm and the Unresolved"
Eilon Morris 
“Rhythm and the Ecstatic Performer"



RHYTHM and NUMBER (Topology Research Unit Panel)
Peggy Reynolds
"Rhythms All the Way Down"
Julian Henriques
"Rhythmanalysis Weaponised"
Vesna Petresin
"Being Rhythmic"
Sha Xin Wei
“Rhythm and Textural Temporality: An Approach to Experience Without a Subject and Duration as an Effect"


RHYTHM and PHILOSOPHY 
Steve Tromans
"Rhythmicity, Improvisation and the Musical-Philosophical: Practice-as-Research in Jazz Performance"
Eliza Robertson
"Rhythm in Prose: Bergson's Duree and the Grammatical Verbal"
Yi Chen
“Rhythmanalysis: Using the Concept of Rhythm for Cultural Enquiry"


Sound Installation 
Annie Goh and Lendl Barcelos’ ‘DisqiETUDE'
St Hatcham Church G01
]]>
Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1040259 2016-04-25T02:07:55Z 2018-01-15T17:15:37Z Goldsmiths : April 23: Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections
For our Rhythm scrapbook:

TALK SLIDES (video): https://www.academia.edu/24710149/Rhythm_and_Textural_Temporality_slides_

http://www.gold.ac.uk/calendar/?id=9756


Rhythm as Pattern and Variation -- Political, Social and Artistic Inflections

April 23, 2016
Goldsmiths London
http://www.gold.ac.uk/calendar/?id=9756


Organizers: 
Paola Crespi and Eleni Ikoniadou

Participants included

Pascal Michon (KEYNOTE)
“Could Rhythm Become a New Scientific Paradigm for the Humanities?"
http://rhuthmos.eu/



RHYTHM and ART
Dee Reynolds
"Rhythmic Seascapes and the Art of Waves"
Paola Crespi
"'Time is Measurable and It's NOT Measurable': Polyrhythmicity in Rudolf Laban's Unpublished Notes and Drawings" 
Bruno Duarte
“Rhythm and Structure: Brecht's Rewriting of Hoelderin's 'Antigone'"


RHYTHM and THE SOCIAL
Ewan Jones
"How the Nineteenth Century Socialised Rhythm"
Mickey Vallee
"Notes Towards a Social Syncopation: Rhythm, History and the Matter of Black Lives"
John Habron
“Rhythm and the Asylum: Priscilla Barclay and the Development of Dalcroze's Eurhythmics as a Form of Music Therapy"


RHYTHM and MEDIA 
Simon Yuill 
and
Bev Skeggs
"Conflicted Rhythms of Value and Capital: Rhythmanalysis and Algorhythmic Analysis of Facebook" 
Sven Raeymaekers
“Silence as Structural Element in Hollywood Films"


RHYTHM and THE BODY 
Laura Potrovic
"Body-Flow: Co-Composing the Passage of Rhythmical Becoming(s)"
Mihaela Brebenel
"What Could Possibly Still Get Us Going: Rhythm and the Unresolved"
Eilon Morris 
“Rhythm and the Ecstatic Performer"



RHYTHM and NUMBER (Topology Research Unit Panel)
Peggy Reynolds
"Rhythms All the Way Down"
Julian Henriques
"Rhythmanalysis Weaponised"
Vesna Petresin
"Being Rhythmic"
Sha Xin Wei
“Rhythm and Textural Temporality: An Approach to Experience Without a Subject and Duration as an Effect"


RHYTHM and PHILOSOPHY 
Steve Tromans
"Rhythmicity, Improvisation and the Musical-Philosophical: Practice-as-Research in Jazz Performance"
Eliza Robertson
"Rhythm in Prose: Bergson's Duree and the Grammatical Verbal"
Yi Chen
“Rhythmanalysis: Using the Concept of Rhythm for Cultural Enquiry"


Sound Installation 
Annie Goh and Lendl Barcelos’ ‘DisqiETUDE'
St Hatcham Church G01
]]>
Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1040206 2016-04-25T00:49:01Z 2016-04-25T00:49:01Z proposition 0.4 how about this as a working proposition:

0.4
rhythm is not a thing, not a form, not even a pattern, but a sense ?
(thus, a special case of temporality, which is the sense of dynamic, change, …)

added to
0.1
rhythm is not sonic

0.2
rhythmic is not unidimensional

0.3 
rhythm is not metrically regular, or metric at all.



after Goldsmiths talk: Rhythm and Textural Temporality: An Approach to Experience Without a Subject and Duration as an Effect 
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1011552 2016-03-11T08:11:37Z 2016-03-11T08:11:37Z from teraswam to continuum mechanics, and rheology? Could RHEOLOGY and continuum mechanics be a source of insight for the continuum limit from internet of things to teraswarm and beyond?

That, plus a form of general relativity that has to take into account the interactions peculiar to media?

Rheology (/riːˈɒlədʒi/; from Greek ῥέω rhéō, "flow" and -λoγία, -logia, "study of") is the study of the flow of matter, primarily in a liquid state, but also as 'soft solids' or solids under conditions in which they respond with plastic flow rather than deforming elastically in response to an applied force.[1] It applies to substances which have a complex microstructure, such as muds, sludges, suspensions, polymers and other glass formers (e.g., silicates), as well as many foods and additives, bodily fluids (e.g., blood) and other biological materials or other materials which belong to the class of soft matter.
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1008001 2016-03-06T02:33:23Z 2016-03-06T02:33:23Z another reason for 3d printing
Yet another reason for 3d printing, a math-poetic one:

http://laughingsquid.com/a-3d-printed-sundial-that-displays-the-time-in-digital-format-without-the-use-of-electronics/

this joins the aerogel
http://www.sciencealert.com/you-can-now-3d-print-one-of-the-world-s-lightest-materials-aerogel
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/1002756 2016-02-28T02:23:09Z 2016-02-28T02:23:09Z rhythm: hand jive++ Julio Pimentel, Brazilian, percussion jive
https://www.facebook.com/OfficialJulioPimentel/videos/767821399959209/
(thanks Adrian)
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/999345 2016-02-23T05:42:11Z 2016-02-23T05:42:11Z Henriques, Julian F.; Tiainen, Milla and Valiaho, Pasi. 2014. Rhythm Returns: Movement and Cultural Theory. Body and Society, 20(3/4), pp. 3-29 http://research.gold.ac.uk/10747/

Henriques, Julian F.; Tiainen, Milla and Valiaho, Pasi. 2014. Rhythm Returns: Movement and Cultural Theory. Body and Society, 20(3/4), pp. 3-29. [Article]

No full text available
Official URL: http://bod.sagepub.com/

Abstract or Description


This introduction charts several of rhythm's various returns as a way of laying out the theoretical and methodological field in which the articles of this special issue find their place. While Henri Lefebvre’s rhythmanalysis is perhaps familiar to many, rhythm has appeared in a wide repertoire of guises, in many disciplines over the decades and indeed the centuries. This introduction attends to the particular roles of rhythm in the formation of modernity ranging from the processes of industrialization and the proliferation of new media technologies to film and literary aesthetics as well as conceptualizations of human psychology, social behaviour and physiology. These are some of the historical antecedents to the contemporary understandings of rhythm within body studies to which most of the contributions to this issue are devoted. In this respect, the introduction outlines recent approaches to rhythm as vibration, a force of the virtual, and an intensive excess outside consciousness.

body culture
modernity
phenomenology
psychology
rhythmanalysis
vibration
the virtual


Item Type: Article
Identification Number (DOI): 10.1177/1357034X14547393
Departments, Centres and Research Units: Media and Communications
Item ID: 10747
Date Deposited: 13 Oct 2014 10:00
Last Modified: 16 Jun 2015 12:42
URI: http://research.gold.ac.uk/id/eprint/10747
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/997899 2016-02-20T19:45:12Z 2016-02-20T19:45:13Z complex systems phenomena of critical slowing down, and flickering
Hi Felix,

On Feb 20, 2016, at 8:00 AM, Fel Reb <rebfel@gmail.com> wrote:

I don't have access to respond to the posthaven blog, so I'm sending it directly to you....

Your questions made me think of meta-stability and Simondon... I don't know if if I'm off in left field but here are my two cents' worth... Gotta say though that f is not just any (differentiable) scalar function… it's a nice way at "inducing" continuity where the underlying may not have it..

Yes, right — in fact distribution theory : representing a function by convolving against approximations to the identity with a kernel that converges to the Dirac delta function is a well known and beautiful way to densely approximate any integrable function — a much vaster set of functions, which includes wildly non-differentiable and even discontinuous functions — by infinitely differentiable functions.

If the second time-derivative is going to zero, one would be approaching a steady state of no change, i.e. no new energy entering or leaving the system.

The second time-derivative of what, prices of Apple stock, immigrant flows through Ellis Island ?  That is only the case when we’re talking about position (potential energy mass * dx).   

If the second time-derivative is positive, why would that induce flickering? If the second derivative is positive at a point, are not you not only providing half the story? Wouldn’t you need to see how the change is changing over time rather than tending? 

Yes exactly, that’s why I speak of second time-derivative f’’: change is f’  and change of change is f’’.

If the potential is locally a quadratic with nonzero second derivative, then it looks like a parabola (in potential space).   The classic dynamic (solution) subject to that sort of potential (differential equation) is harmonic oscillation. 


For the thing to flicker, one would need discontinuities in the system or very tight oscillations to the changing system... tending-positive to infinity, finding another “plateau” of zero (or near zero) and then another tending-negative to infinity and repeat
This flickering effect feels like a cycling of meta-stability where contributing factors within the system impede the system from acquiring a one way or the other... or exit that meta-stable state... the correlation lengths would depend on the energy dynamics of the system, how rough the cycling is, i.e. how much energy is required to get out of the troughs of the meta-stability yet not enough to break away from the cycling and revert to the meta-stable trough. Experimentally, to break the spell one needs to introduce ever larger amounts of energy, heighten the amplitude of the energy dynamics as roughness into the cycling so one overwhelms the threshold boundary and break free from the prevalent dynamic onto another regime. You gotta introduce some rough stuff into the system, i.e. introduce difference or change, to mix it up and break free from the toxic stability....

Does this make sense?

Not clear what you mean by all this.  Are we speaking of the base space, or the state space of configurations, or the space of potential energy (functional on configurations)?

I hope this doesn’t land like a hair in the soup, like they say in Qc French.

hahaha , what’s that in quebecois?

Best, Felix

P.S. I found this reference on my way to somewhere else... thought it might be an interesting comment to the death scenario of the . 

From Nature

Universal resilience patterns in complex networks

Jianxi Gao, Baruch Barzel & Albert-László Barabási

Nature 530, 307–312 (18 February 2016) doi:10.1038/nature16948

Received 13 July 2015 Accepted 14 December 2015 Published online 17 February 2016

Félix


Félix Rebolledo

Email: rebfel@gmail.com

Fone: 51 9110 9920

View the post and reply »

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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/985843 2016-02-04T16:32:17Z 2016-02-04T16:32:17Z 4D printing, ripping off plants https://www.technologyreview.com/s/546126/gorgeous-new-4-d-printing-process-makes-more-than-just-eye-candy/]]> Xin Wei Sha tag:textures.posthaven.com,2013:Post/980386 2016-01-28T15:27:12Z 2016-01-28T15:27:12Z RHUTHMOS / Janvier 2016 Worth subscribing to RHUTHMOS!
And worth learning français!
Bien sur!
Xin Wei

_________________________________________________________________________________________________

Begin forwarded message:

From: Pascal Michon <pascal.michon1@sfr.fr>
Subject: Dernières publications sur RHUTHMOS / Janvier 2016
Date: January 27, 2016 at 12:51:55 PM MST
To: 'Pascal Michon' <pascal.michon1@sfr.fr>

Dernières publications sur RHUTHMOS / Janvier 2016
Plateforme internationale et transdisciplinaire de recherche
sur les rythmes dans les sciences, les philosophies et les arts

Janvier 2016

Derniers articles parus
* F. Bisson, Ainsi marche Anna Cruz

Aux EDITIONS RHUTHMOS
En librairie
* M. Salgaro (Hrsg.), M. Vangi (Hrsg.), Mythos Rhythmus.Wissenschaft, Kunst und Literatur um 1900
*J.-L. Evard, Du sensible au sensé

Galeries
* Hommage à Daniel Buren
* Seeing in the Rain – Chris Gallagher (1981)
* Variations on a Cellophane Wrapper – David Rimmer (1972)
* Savage Messiah – Ken Russell (1972)
* La jetée – Chris Marker (1962)
* Ring-o-graphy – Alexandra Savina (2011)
* Meilleurs Vœux 2016 – Marie Paccou et al.École des Métiers du Cinéma d’Animation
* My Ship – Kurt Weill (1942)
* Les yeux noirs – Django Reinhardt (1947)
* Mélodie au crépuscule – Django Reinhardt (1947)
* Sonnet 130 (1609) – William Shakespeare – Read by Alan Rickman
* Daffodils – William Wordsworth (1804)
Actualités
* TRANSDISCIPLINAIRES – Call For Papers For the Conference : « Rhythm as Pattern and Variation : Political, Social and Artistic Inflections »
Débats



Cet e-mail a été envoyé depuis un ordinateur protégé par Avast.
www.avast.com
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/976680 2016-01-23T10:13:06Z 2018-01-15T16:57:58Z standard model Lagrangian re-understood in terms of spectral action




BRAWN — the full “un-inspiring” version of the Standard Model’s Lagrangian as hacked together by physicists:




Connes and Marcolli’s formulation using and producing deep insight:



Brains over brawn.
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/961851 2016-01-02T08:38:43Z 2016-01-02T08:38:43Z sounds matter, architecture http://www.nytimes.com/interactive/2015/12/29/arts/design/sound-architecture.html?src=me&_r=2]]> Xin Wei Sha tag:textures.posthaven.com,2013:Post/959283 2015-12-29T05:54:01Z 2015-12-29T05:54:01Z analog rhythm jam session

Thanks to Adrian Freed for drawing attention to this analog machine + human rhythm jam session https://www.facebook.com/guanitoweb/videos/10206485558432152/ “Viviendo la nochebuena en un ricon de sevillano aquí os muestro algo nuevo la máquina de compas y os deseo una feliz navidad a todos, con armonia, sentimiento y compas”

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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/945870 2015-12-08T10:19:24Z 2015-12-08T10:19:24Z sensorimotor observations of collective movement, Heims Ingalls experiment Hi Todd,

Thanks.  Can we talk with Pavan, and then Steve Heims?

Yes I’d be very interested in such collective movement experiments.  But then it is urgent that we really prep our own measurement methods and team (Garrett?, ___ ? assisted by Julian).

As you know, I would want to measure correlations not (only) in the brain but across much more of the event.   
It is far more direct (scientifically rigorous) to measure as much of the global aspects of collective movement than to zero in on only one part of the body and in fact a part whose functions are extremely indirectly related to corporal kinetics, and in ways that are quite ill understood . 

That’s why I’ve asked Julian and our students to build out the rhythm kit to use all modalities of sensing intervallic rhythm.


in particular: 


and as an aside:

Can we talk with Pavan, and then with Steve?

Thanks,
Xin Wei


On Dec 4, 2015, at 12:41 PM, Todd Ingalls <TestCase@asu.edu> wrote:

could this be tied to rhythm. I think we are both skeptical of brain imaging but could still be interesting. 

todd from my phone

Begin forwarded message:

From: Stephen Helms Tillery <stillery@asu.edu>
Date: December 4, 2015 at 12:26:56 PM MST
To: Todd Ingalls <TestCase@asu.edu>
Subject: Back to music and brain

Hey Todd,

Hope you’re good.

I have been working and thinking about a couple of issues a lot lately in group neuroscience .. the two key topics are joint action and entrainment.   Joint action is just multiple actors working together to accomplish some task … like two people carrying a table together, or a couple of soccer players moving the ball down the field.   These are interesting problems because they require the actors to have some sense of what their partners are trying to accomplish and how they are going about that.   Entrainment is an entirely hypothesized process in which two brains come into “synchrony” in order to communicate .. this is thought to be important in language, but obviously is also important in music performance.

Entrainment, however, is pretty loosely defined at the moment … we have an idea for getting at entrainment using musicians.    The notion is to get an ensemble together, a good ensemble … and record simultaneous EEGs from the players as they work a piece.

To some extent this has been done before:   with saxophones (ugh!)   The focus of that paper was on EEG markers of empathy (even more ugh), and the usual expected changes in EEG associated with listening to and motor outputs for music.

What I’d like to do is do real analysis across multiple brains during performance, and see if we can see electrical signs of entrainment as they are working.   In a dream world, as the ensemble locks into “togetherness” … the brains will entrain.   Or vice versa.  

Anyway, to go after this we will need to synch up multiple EEGs, and more importantly, find a good ensemble that might be up for this.    

I thought of AME, and wondered if there would be somebody there interested in devoting a little bit of time and nominal resources to chasing this down.

In any case, have good holidays,

STeve
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/942125 2015-12-02T15:52:13Z 2018-01-15T16:46:29Z AME research and graduate proseminar: the problem with explaining things in terms of "'parts' of the brain"
Hardcastle and Stewart succinctly point out a fundamental problem at the heart of the methodology of neuroscience (and of cognitive science): the modularity thesis.

Neuroscience did not “discover” modules — loci of functions —  in brains.   Rather “they don’t even have a good way of accessing the appropriate evidence. It is a bias in neuroscience to localize and modularize brain functions.”

The problem with scientistic methodology is that you see what you expect to see.



There’s much more in play: Noah Brender’s work questions the modularity thesis underlying much of technoscience. 
However, another world is possible :)

Xin Wei
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Xin Wei Sha
tag:textures.posthaven.com,2013:Post/938587 2015-11-24T13:10:44Z 2015-11-24T13:10:44Z Synthesis rhythm: IMU's etc. Dear Rhythm people: Garrett, Gabby, Julian,

Thanks for being on the demo team !  Now we can get back to steady state  work, like rhythmanalysis 
textures.posthaven.com/
rhythmanalysis.weebly.com

Can you please check out the IMU’s that we bought last year as an input for our rhythm test platform?
Ask Ozzie or perhaps one of Prof. Turaga’s students who’s used them for permission and see if you can stream them into Max.

I’d like assemble a suite of inputs:
contact mic
air mic
camera (Julian)
IMU (Pavan’s group?)
xOSC gyros (Mike —> Julian)

and record them in parallel
with some movement scenarios to get multiple streams of time data.

Please define some scenarios : e.g.  assembling blocks small to giant size, cutting and washing .  try seated and upper body and locomotive.   Varsha’s done some movement scenarios with Grisha, but in very specialzied contexts.  How about quotidian ?

Let’s try some out on Monday Nov 30?

Cheers,
Xin Wei

cc Pavan

________________________________________________________________________________________
Sha Xin Wei • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Consortium for Biosocial Complex Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Founding Director, Topological Media Lab
skype: shaxinwei • mobile: +1-650-815-9962
_________________________________________________________________________________________________
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Xin Wei Sha