Andrew2.0 and I have been working on building our own RepStrap for the last three or four weekends, and last night we had a very successful first run (without the extruder installed). Above, you can see a video of it in action. (Thanks for the FlipHD, Dad!). We made some initial measurements of its alignment and were pleasantly surprised to find that the X and Y axes are just about perfectly square to each other, and even with our hardware-store threaded rod we seem to be getting accuracy to about 0.02mm(!)
We’re assembling and mounting the extruder head tonight, so by early next week we should be printing in ABS for real. It’s pretty addictive building these, partially because it’s awesome to build something that is so much more accurate than a person can be.
While I was working on House In Bali in Berkeley, I had the thought that it would be a good idea to run some video signal through a steak. It was mostly the drawing I had made of the signal flow, and the name (“Steak Filter”) that I thought were so simple and adorably right. I am hard to dissuade when I insist something is right, even if I am clearly wrong; you might already know this. I got excited about it, and ended up not talking about much else for a day or so. I think I was pretty insufferable about it being a good thing to try.
Just last week, I finally got it together enough to just do a dry run, and I’m glad I did—somehow I never remember how easy it is to just throw something together, or how little I ever regret spending an hour or an evening to throw together a little test that will leave me with some digital or physical records to work with.
I meant to tell you about this sooner, because I liked the result. The actual mechanics of the filter worked really well, better than I thought, and it made for a nice contemplative couple hours, watching the steak (it was a roast, actually) cooking. Almost as soon as I put it up on Vimeo, I got an email from an editor at a food blog called “Eat Me Daily.” Not, if you ask me, a great name for a blog, but they had some cool work there. Raphael, the editor, asked me “exactly what’s going on here.”
This was exciting, because it was a chance to put an actual artwork into the world with a statement accompanying it. I’m glad I thought a bit ahead, though, and asked him to hold off publishing for a day or so while I got my website updated and generally cleaned house and prepared for visitors. Using Google Wave, Harlo and I co-edited the text of the statement and sent it off. Here’s the statement:
Hi Raphael, thanks for your patience – there’s now a (hopefully) more coherent web representation of the project online.
I think the >init< video is perhaps the most explanatory: http://vimeo.com/7491585 , although the green-and-red video you referenced does look a little nicer (both are from the same performance event). Quite literally, I am plugging composite video into a big steak, which is then cooked. The video signal going through the steak is the image of the steak cooking. Gradually, the steak loses moisture and signal can no longer pass.
With this performance I'm trying to get at the reflexivity of live video - the taut line between the space and the image that results. It's possible to think of almost anything that mediates as a filter of some kind...sort of a "the-map-is-not-the-territory" territory.
In this system, the filtered image is recursively processed in a feedback loop, allowing minute perturbations to ripple and echo across the screen long after the original impulse has ended.
Part of my interest in video lies in its exploded body; the signal is a ghost that resonates and deforms, trapped in our waveguides: when the system powers down the image fades into incoherence, leaving no corpse behind. Steak Filter gives body to this infinite recursion, making it real; incarnate. With this corporeality comes mortality: as the meat sputters and pops, we watch the cascade of images until finally, the steak is done.
This piece was a study for a performance series I might be doing at the Harvard Museum of Natural History this spring. I'd love to hear any thought/feedback/reactions, etc you might have - thanks!
After I sent that off, Raphael wrote back with some questions, which I’ll post verbatim:
Hi Raphael, thanks for your questions! I’ll do my best to answer these well but please feel free to push me for clarification or more details…
You write “the signal is a ghost” — is part of what you’re capturing the last remaining life of the animal, right before its consumption? Its “last gasp” so to speak. Is the meat itself a ghost?
It’s not particularly about the life/soul of the animal – meat is meat. For me, the ghost I mention is the fissure between the physical and virtual realms involved in the performance – a real space is abstracted, ghosted, into a temporal phenomenon (the video signal) that we see as a series of transient images onscreen. There’s no way to “catch” this live signal, but you can see its traces.
Was there a reason to use beef over other meats?
It was very important for this project not to be wasteful, both out of respect for the medium and due to financial limitations – I asked a couple butchers for spoiled/unwanted steaks, but nobody would provide any. Often, a title is one of the first elements I’ll start with when making a piece, and “Steak Filter” has a compelling ring to it. Also, I don’t really eat pork, and I was worried chicken or fish would not present an easily-readable image onscreen.
How will your upcoming performance series incorporate this study?
I’m not entirely sure yet, but I will probably be doing this performance, cooking a steak filter, while the audience explores the rest of the works on display. The smell, and the amplified sound of the sputtering of the meat, will provide an interesting ambient counterpoint to the museum’s usual fare of sterile, long-dead, never-changing objects. (There is no sound in some of the videos this time because I did not have the proper mic setup)
How did it taste?
It was delicious. I might experiment with different marinades, though, to see their effect on the image and palette. There is something special, though, to the simplicity of the current setup.
Have you worked with food before?
I have done a few poorly-documented projects in the past, like signing my name using a pen that dispenses a rapidly-solidifying “gummi” mix. I am working on a piece now that involves custom-molded chocolate circuitry, although it is too soon to tell if that idea will bear
fruit.
also, please confirm: the official name of the piece is “Steak Filter v0″ and should be credited to Noah Feehan / AKA MEDIA SYSTEM
Thanks for asking! This is version 0 of the “Steak Filter” series, so “Steak Filter (v0)” or “Steak Filter, v0″ would be fine. I’m Noah
Feehan / AKA. AKA MEDIA SYSTEM is a term I use to include any collaborators and/or participants, but this piece is pretty much solo.
I just couldn’t be more pleased with Raphael’s write-up here. I was a little worried when I saw the “is this about the animal’s soul” part, as it looked a little like a leading question, but it turned out fine—I think that by providing a strong set of responses and a clearly-written statement, it became easier to tell my story than to do the usual conjecture/opinion that often accompanies reblogged web art.
Raphael’s piece really took off after a few hours, which was super-exciting. First it was on kottke, then Gizmodo, then Lady Ada’s blog, then Today and Tomorrow. Overall, I got 14400 views in about 3 days. And this was a test shot, done on Friday night, more or less because I had nothing better to do.
The thing I learned is, this is the better thing that I have to do. The more I spend a couple hours doing a lil thing like this, or making Mylar Mountains, or making little chocolate circuitboards, the more something good is likely to happen.
I have a preliminary version of the mockup I am making for Sponsor Week, which starts this coming Tuesday.
Syncwalk is my Android app that will allow you to sound-design your neighborhood. In this version, the user associates songs with specific locations, and as you approach the location, the space’s song gets louder. Here is a short mix I made for the area around the Media Lab – more mixes/terrains coming soon!
I walked four times around the same place. Four loops. I was wearing binaural microphones. Even at the same place, the sound is never the same. But it is often familiar.
I geologged as I walked. The geologging and the recording were started simultaneously.
I saw Jessica Rylan’s talk at the MIT Center for Advanced Visual Studies a few months ago, and it was an interesting experience. It’s been awhile since I went to one of these things, and I think my break has given me a bit of healthy perspective. Here are some things I wrote down or thought about during the talk—per usual, my mind wanders during events of this nature.
Jessica’s talk had some very interesting AV components. At one point, she played a great series of audio samples with accompanying waveplots. I was a little underwhelmed by her engagement with the technical side of her work—maybe she was nervous, but it seemed at times as though she was deliberately trying to sound “technical,” something that makes me immediately suspicious.
Much of Jessica’s talk was about the change in technology from the 1960’s to the present: transistors are smaller, memory is bigger, and the like. It didn’t relate much to anything else, except that it was an interest of hers, which I suppose we did all show up to listen to…at a couple points she used the strange example of cars to compare to the progress that computers have made: cars still do the same thing, cost about the same, run on gas, etc. More than a few people in the (mostly MIT-student) audience looked as confused as I that we were making this comparison.
I’m aware that I’m not saying much that’s positive about Jessica, even though I admire what she’s doing and how she got here. I’m a little puzzled myself as to why I’m dwelling on the negative aspects, and I think the distinction is dawning on me: Jessica Rylan is a good maker of things, and is firmly interested in the dialog surrounding her work. She has a rich relationship to the equipment she uses and the sound she makes (her website is very well-spoken), and is admirably open and involved in helping others have the same experience. Of course, the other side of all of this is that I really don’t care for her actual music—it appears as though she has taken to describing herself as a “noise band” because of the current cachet surrounding this genre, since her music rarely shares the qualities of other groups in that genre.
Altogether, the presentation didn’t go very well. Ms. Rylan’s prepared notes weren’t thorough or focused, and her remarks didn’t really get at the ideas behind her process and her music. Perhaps the entire audience would have been better served if he had made a clear decision either to discuss her artistic intent and motivation or to delve into the technical aspects of her hardware fabrication and setup, rather than paying lip-service to both. I’ve seen from this talk how someone who is otherwise in control of her direction and practice can make the mistake of showing work that is either poorly contextualized or, worse, attempting to capitalize on an audience’s lack of understanding rather than add to such an understanding.
I’ve held off on releasing this post for several months for a couple of reasons, and I’m glad to revisit it, especially since the project I’m working on now has put me in much the same situation: several times in the recent past, I’ve been compelled to “tech it up” when discussing my project with sponsors, press, or visitors. It’s amazing the kind of hyperbolic bullshit one can concoct when watching a sponsor’s interest in your professor’s opera flag before your eyes.
However, these experiences have only strengthened my resolve to be more open when discussing my own work, which hopefully will be soon (Sponsor Week is at the end of October, and I expect to have one or two projects of my own ready to show by then).
Hello, here are some unedited recordings of the sounds made when Harlo and I play together—some of them start out pretty raw, but there are parts in each file that certainly merit attention. Let us know what you think! cookie sandwich improv 1 improv 2 improv 4 improv 5 improv 6 improv 7
After three txt-msg blogposts, I need to break the streak and provide a proper update. Please do not think I will be txt-blogging less, though, as it makes an excellent threat when Company is around.
My second run of T-shirts went very well – I will be posting photos soon to flickr. The design was an AKA logo called Twin Eurofighters, and most of the shirts from the first run of 9 have been given away. Let me know if you’d like one, and I’m sure we can work something out. Screenprinting is great fun but a bit costly—so far I’m about $300 in the hole from supplies, the sink I had to buy and install, and shirts to print on. Clearly, this is a pursuit that must eventually be monetized.
I’m preparing a very small (but possibly noteworthy) presentation for the Dorkbot “Presidents Day” showing; it is called PissPoll and I’ll have more details soon. You may or may not like this idea. I am concerned that you might not like it.
I was in Harlem from this past Thursday to Monday working on Thenji’s film, which is coming along well. We were supposed to have finished by Monday but the deadline was extended and we’re finishing up next weekend. I hope. My most pressing concern is that I will finish the score and not have a chance to mix it on proper monitors, which neither of us own. Also, the diagetic mix is not yet final, which may affect some scoring stuff. It certainly will be exciting to see it screened, though! (no idea when that may occur).
Harlo was down in New York over the weekend as well; she was filming an interview with DJ/rupture for the premiere episode of share.tv, which airs on Feb 17th on CCTV. I haven’t seen the footage yet, but I’m sure it will come out very well. We went to Raggs of Harlem, a fine old bar, and had a nice evening talking with drunken locals who won money on the Superbowl.
In the last month I’ve gotten quite a bit done, and I have more on the horizon. It is a relief to have my time spoken for these days, and a delight that such exciting projects are on the roster. I will attempt to be brief.
The application
The application is in, and all necessary evaluators have responded. Hopefully, my application is as good as anyone else’s at this point. I am satisfied with my submission, and glad that it is out of my hands.
The Cameroon project
Delightfully, I met Andrew Sempere again recently and he has offered some insight on the chip problem I am having—the one I’m working with is proving difficult to debug. I’ve been working with Harlo on using this power source and looking at other chips that more easily facilitate pitchshifting. I’m considering just gutting this helmet and using it for a cheap pitchshift effect (I assume it can be hacked to change pitches).
The Syncwalk Digital Composition Interface
I’m chomping at the bit to get to the hardware/software part of this but I have committed to do the Cameroon project first. It’s nice, though, to continue to try to refine the operational flow as a background task while walking. I have a pretty complete model in mind now, and it can be implemented in several stages, which will help focus development work along the way.
South Africa Documentary
I’m heading down to New York to finalize the scored parts of Thenji Nkosi’s documentary at the end of the month—there’s also a new song called “Primary Loyalty” that you can hear here: Primary Loyalty
Screen printing
Harlo and started screen printing this past weekend and had some modest successes.
A Bell
I received a very lovely bell for Christmas and it makes a wonderful sound. I will link to it soon.
I finally, finally found the VHS of an old performance I did with Teresa Marrin Nakra last week, and have now safely converted it to a .mov.
The music itself isn’t the most awesome thing in the world, but I certainly am glad that proof of this exists…I really need something from this to put in my portfolio! As I try to write more thoughtfully about this project, it becomes clearer how much this served as an introduction to the world of physical computing and, in a sense, the process involved in working with emerging technology.
The carpet itself was very cool but a bit buggy. Factors like heat and prior use would seriously impact the consistency of the output, and it led to some frustrating but now-familiar debugging issues. Other things, like Teresa’s imminent pregnancy and my own unfamiliarity with the medium made this a frustrating project at the time. Thankfully, Tim Ledlie was around to handle the software side of the debugging and help me retain a sense of perspective.
We only had a week from start to finish to make our performances, and the title of mine (DON’T WORRY ABOUT ME, I’LL BE FINE) comes from the sampleset I was using at the time. Snips from Disney’s version of “Peter and the Wolf” and R+H’s “South Pacific” combined with pretty abstract (and, upon later reflection, boring) drum and toneloops to make an endless, atmospheric performance that did not go very many places.
I think the best thing about this project was finally getting to just play the damn carpet. I spent many, many hypercaffeinated hours before that night pressing on the thing and listening for trouble, and even watching it reminds me of what fun it was to make sounds with something so malleable and strange.
