does anyone know how to do this?
Show a blueprint of a gallery and a bit of the surrounding area on a computer screen in the gallery.
Participants are equiped with sensors that track their movement within the gallery and the surrounding area.
Particpants are: the parasite and anyone on the audio tour.
This movement/group is shown on the screen in real time and the participants are represented by points connected by some kind of visual thing...a digital effect like a cloud - so they look like a translucent blob moving around, but you can still see the points.
Friday, April 6, 2007
Wednesday, March 28, 2007
No Meeting.
Tomorrows potential meeting is called off.
Conflicting times and little response.
Maybe in a couple weeks.
Conflicting times and little response.
Maybe in a couple weeks.
Tuesday, March 27, 2007
Variable media conservation practice
This link outlines a template that some conservationists are using to contemplate the complexities of documentation and preserving media art.
Variable Media Questionnaire
Variable Media Questionnaire
Sunday, March 25, 2007
Saturday, March 24, 2007
Snomax
(http://www.telemet.com/snow/snomax.asp)
Make Snow
Since 1987, Snomax® Snow Inducer has been helping ski resorts around the world by increasing productivity and efficiency of snowmaking through the use of its ice-nucleating proteins that induce the formation of ice crystals at all snowmaking temperatures.
What exactly is Snomax?
Snomax is an active protein, which enhances the conversion of droplets of water from a snowgun into snow. The protein is derived from a tiny bacterium called Pseudomonas syringae. This naturally-occurring bacterium is found readily in Nature, from grass to trees to vegetable and cereal crops and even in the air we breathe.
Snomax Technologies grows Pseudomonas syringae in a controlled environment in sterilized fermentation equipment. Processing involves freezing the micro-organism, similar to the process used to produce freeze-dried food, to yield a protein as the end product. The resulting pellets are then sterilized in the same type of equipment used to routinely sterilize surgical instruments. The by-product of this process is Snomax, a very active ice-nucleating protein.
How snow is formed?
The molecules in water are in continual motion. It is the energy of this motion that determines the temperature of the water and which prevents any intermolecular structure from forming. Most of us think that water freezes at 32 degrees F. But in fact, pure, distilled water can be "supercooled" to as low as -40 degrees F before it freezes.
For freezing to be initiated, sufficient energy must be removed from the water to allow the molecules to slow down and align in a latticed hexagonal array.
An ice nucleator performs this function by attracting the water molecules and slowing them down. Thus a nucleator can be simply defined as a foreign particle in the water that starts the freezing process.
How does Snomax work?
Snomax is mixed in water to form a concentrate that is metered into the snowmaking water supply. Every water droplet thrown from the snowgun is then seeded with the Snomax nucleators. This is important because the key to efficient snowmaking is to freeze as many droplets as possible before they hit the ground. If the droplets do not contain nucleators, a great many of them may not freeze before they hit the ground.
Source water that has been treated with Snomax contains anywhere from 1,000 to over 100,000 more nucleation sites than untreated source water. This means that every droplet of water has a site for ice crystals to form.
Another feature of Snomax is that it functions as a high temperature nucleator, which simply means that it is capable of initiating the freezing process at a higher temperature. Studies have shown that Snomax is effective up to almost 27 degrees F. Most natural water additives are not effective at temperatures above 15-20 degrees F and are therefore classified as low temperature nucleators. Thus, water with Snomax added will freeze faster, more completely and over a wider range of conditions.
Snomax and environmental safety
Each day, people throughout the world are exposed to billions of harmless bacteria - in the air they breathe, the food they eat, the beverages they consume. In fact, one shovelful of average topsoil contains about as many living organisms as there are people living on this Earth - about 3 billion. Among those microorganisms is Pseudomonas syringae, the source of the Snomax Snow Inducer protein.
Pseudomonas syringae is so commonplace that an average of 40 organisms is found per cubic meter of air worldwide. A single tomato leaf can yield as many as 10 billion of these organisms. In fact, a study conducted for the Canadian government concluded that if Snomax were used at all of the country's 70 ski resorts with snowmaking, the total release of live microorganisms would be no more than what could be recovered from 100 leaves in a farmer's field.
The strain of this bacterium used in Snomax has been proven to be a safe non-pathogenic organism. Key agencies that have regulated the commercial development of Snomax include the U.S. Environmental Protection Agency, the U.S. Department of Agriculture, the U.S. Forest Service and Environment Canada.
Regulatory agencies in Canada, Norway, Japan, Sweden, Finland, Italy, Switzerland, Argentina, Chile, and Australia - countries that are known as some of the most environmentally conscious in the world - have also studied Snomax and have approved it for commercial use. More than 35 independent scientific studies (many government required) over a six year period in the U.S. and several other countries have all come to the same conclusion - that Snomax poses no health or environmental threat whatsoever.
Teaming up
Snowmaking dictates a team approach to achieve the right blend of equipment, water, air, energy and labor for coping with variable weather conditions. It takes know-how to integrate successfully the many variables at work. The Snomax Support Team offers the requisite skill, experience and dedication to help operators put together a truly effective snowmaking system, one that scientifically and systematically integrates all the variables.
Make Snow
Since 1987, Snomax® Snow Inducer has been helping ski resorts around the world by increasing productivity and efficiency of snowmaking through the use of its ice-nucleating proteins that induce the formation of ice crystals at all snowmaking temperatures.
What exactly is Snomax?
Snomax is an active protein, which enhances the conversion of droplets of water from a snowgun into snow. The protein is derived from a tiny bacterium called Pseudomonas syringae. This naturally-occurring bacterium is found readily in Nature, from grass to trees to vegetable and cereal crops and even in the air we breathe.
Snomax Technologies grows Pseudomonas syringae in a controlled environment in sterilized fermentation equipment. Processing involves freezing the micro-organism, similar to the process used to produce freeze-dried food, to yield a protein as the end product. The resulting pellets are then sterilized in the same type of equipment used to routinely sterilize surgical instruments. The by-product of this process is Snomax, a very active ice-nucleating protein.
How snow is formed?
The molecules in water are in continual motion. It is the energy of this motion that determines the temperature of the water and which prevents any intermolecular structure from forming. Most of us think that water freezes at 32 degrees F. But in fact, pure, distilled water can be "supercooled" to as low as -40 degrees F before it freezes.
For freezing to be initiated, sufficient energy must be removed from the water to allow the molecules to slow down and align in a latticed hexagonal array.
An ice nucleator performs this function by attracting the water molecules and slowing them down. Thus a nucleator can be simply defined as a foreign particle in the water that starts the freezing process.
How does Snomax work?
Snomax is mixed in water to form a concentrate that is metered into the snowmaking water supply. Every water droplet thrown from the snowgun is then seeded with the Snomax nucleators. This is important because the key to efficient snowmaking is to freeze as many droplets as possible before they hit the ground. If the droplets do not contain nucleators, a great many of them may not freeze before they hit the ground.
Source water that has been treated with Snomax contains anywhere from 1,000 to over 100,000 more nucleation sites than untreated source water. This means that every droplet of water has a site for ice crystals to form.
Another feature of Snomax is that it functions as a high temperature nucleator, which simply means that it is capable of initiating the freezing process at a higher temperature. Studies have shown that Snomax is effective up to almost 27 degrees F. Most natural water additives are not effective at temperatures above 15-20 degrees F and are therefore classified as low temperature nucleators. Thus, water with Snomax added will freeze faster, more completely and over a wider range of conditions.
Snomax and environmental safety
Each day, people throughout the world are exposed to billions of harmless bacteria - in the air they breathe, the food they eat, the beverages they consume. In fact, one shovelful of average topsoil contains about as many living organisms as there are people living on this Earth - about 3 billion. Among those microorganisms is Pseudomonas syringae, the source of the Snomax Snow Inducer protein.
Pseudomonas syringae is so commonplace that an average of 40 organisms is found per cubic meter of air worldwide. A single tomato leaf can yield as many as 10 billion of these organisms. In fact, a study conducted for the Canadian government concluded that if Snomax were used at all of the country's 70 ski resorts with snowmaking, the total release of live microorganisms would be no more than what could be recovered from 100 leaves in a farmer's field.
The strain of this bacterium used in Snomax has been proven to be a safe non-pathogenic organism. Key agencies that have regulated the commercial development of Snomax include the U.S. Environmental Protection Agency, the U.S. Department of Agriculture, the U.S. Forest Service and Environment Canada.
Regulatory agencies in Canada, Norway, Japan, Sweden, Finland, Italy, Switzerland, Argentina, Chile, and Australia - countries that are known as some of the most environmentally conscious in the world - have also studied Snomax and have approved it for commercial use. More than 35 independent scientific studies (many government required) over a six year period in the U.S. and several other countries have all come to the same conclusion - that Snomax poses no health or environmental threat whatsoever.
Teaming up
Snowmaking dictates a team approach to achieve the right blend of equipment, water, air, energy and labor for coping with variable weather conditions. It takes know-how to integrate successfully the many variables at work. The Snomax Support Team offers the requisite skill, experience and dedication to help operators put together a truly effective snowmaking system, one that scientifically and systematically integrates all the variables.
Losslessness
As someone that works with recordings, I feel that my proper place is neither here nor there. I am drawn toward working with recordings in part because I tend to feel that they provide at least something like a stable, if ridiculously limited, reference from which I may consider an event. By stable, I mean that the experience of viewing and / or listening to a recording more than once gives me the feeling that the patterns that comprise the recording have remained the same while I get to be the one that cannot help but change. I often give up a bit of my ability to perceive an event I am directly involved in so that I may consider the frame of a recording device. I am then thinking of what the event will seem like while observing from a possible future. I don't feel that I did this very well during the parasite performance. I think I trusted that whatever happened would be alright, and was then disappointed at how little the recordings held of what I remembered. I wish I had filtered my memories through the recording machine.
The source recordings for these sketches are in the mp3 format and were gathered using a hand-held recorder. They don't sound very good. There is a lot of information missing that I can still remember. Some of the sounds were re-recorded by myself a few hours after the original performance. I re-enacted things that I had observed other performers doing, and tried to follow Chris's text score for as long as I could. The sketches are a mixture of documentation of the actual performance and re-enacted sounds. Nothing is quite as it was, just so you know. The sketches themselves are 16-bit stereo AIFF files; they have also been saved as an audio CDR. I have recompressed the sketches for distribution as mp3 files, but as this has meant a further loss of information, I wouldn't recommend they be preserved in this way.
The sketches aren't meant to exist in a particular space. I also often listen to audio recordings using headphones. In this way I get to ignore a world of relevant variables. They may be transmitted over radio, Internet (here, the mp3 files are probably most suitable) or lent in the CDR format. If the AIFF or audio CD files need to be re-encoded in the future to be heard, please try to do this in a lossless format, and keep in mind that I'm probably laughing a bit at the idea.
The source recordings for these sketches are in the mp3 format and were gathered using a hand-held recorder. They don't sound very good. There is a lot of information missing that I can still remember. Some of the sounds were re-recorded by myself a few hours after the original performance. I re-enacted things that I had observed other performers doing, and tried to follow Chris's text score for as long as I could. The sketches are a mixture of documentation of the actual performance and re-enacted sounds. Nothing is quite as it was, just so you know. The sketches themselves are 16-bit stereo AIFF files; they have also been saved as an audio CDR. I have recompressed the sketches for distribution as mp3 files, but as this has meant a further loss of information, I wouldn't recommend they be preserved in this way.
The sketches aren't meant to exist in a particular space. I also often listen to audio recordings using headphones. In this way I get to ignore a world of relevant variables. They may be transmitted over radio, Internet (here, the mp3 files are probably most suitable) or lent in the CDR format. If the AIFF or audio CD files need to be re-encoded in the future to be heard, please try to do this in a lossless format, and keep in mind that I'm probably laughing a bit at the idea.
instructions
To the archivist of the future:
thank you for the extension. this project continues to change for me as time passes, so its helpful to extend the decision-making as long as possible.
My contribution to the event and its documentation took place in the form of a series of NOW bulletins placed in locations around the central performance site to absorb the snow, mud and salt for different durations. These pieces of paper typically used to alert people to the present are now soaked in the stuff of the parasite. They are irreplaceable, since they contain residue from weather conditions, passersby, running water - situations which would be impossible to reproduce. They must be archived in order from the longest soaking time to the shortest. This can be deduced by following the written notes on the back side of each and proceeding in reverse order. Their material presence is essential to retaining the memory of the event.
Since the parasites activation at the workshop, my work has continued to multiply. This multiplication was the movement that I incepted from the beginning, this is proper to the piece. I now present you with the three forms of the work to date:
The paper present:
As an artist, I have no idea how to archivally preserve coloured bond paper with laser ink and handwritten pen, salt, snow, grass-stains, etc. Right now I have them in a black garbage bag in my studio. They have dried out, so the garbage bag keeps them dry and keeps the sun from bleaching them. Nothing can be placed on them, because they will crush and lose their contour. They cannot be photocopied, scanned or migrated. They must be kept as close to their current state as possible.
Future growth:
After the event, I retained several Now Bulletins that were unused during the event. These can be used for the future. Should the work be displayed, I would like these to be used to chart the duration of the exhibition. In this case, one "original" must be used as a template from which to photocopy more future bulletins. One "future" bulletin will be mounted for each day of the exhibition in an archival ziplock filled with snow (this will melt, so it is only important that it once was snow). Each day of the exhibition a member of the gallery staff will puncture a pin-prick in the bottom of a bag. The water will leak out that day, and for the remainder of the exhibition the condensation in the bag will produce mold. This mold will chart the age of the event/document. At the end of the exhibition, these are to be digitally photographed and then the originals are to be disposed of. Please see the note at the bottom as to instructions for the digital photos.
Digital freeze-frame:
I have also scanned some of the work. These exist as jpeg images. These jpegs are currently on my computer and are files that are commonly accessible image files as of 2007. These files are to be maintained as digital files, transferred to cd, dvd or other mediums, but are not meant to be exhibited as printed images - I do not intend them to exist in paper-form, only as digital information or pixelated projections.
Archivist of the future:
This is a work that continues to multiply. I will maintain the paper and digital forms of the work in my personal estate.
As a living artist, you may consult me to direct you in preserving the work. I will use a highly accurate and specific method to choose which form to privilege in which situation. All three forms should be maintained as stated above. In the event of the work being remounted after my death or after I lose interest, I would like you to consult a medium, a psychic, or a ouija board, who (or which) will direct you on my behalf.
thank you for the extension. this project continues to change for me as time passes, so its helpful to extend the decision-making as long as possible.
My contribution to the event and its documentation took place in the form of a series of NOW bulletins placed in locations around the central performance site to absorb the snow, mud and salt for different durations. These pieces of paper typically used to alert people to the present are now soaked in the stuff of the parasite. They are irreplaceable, since they contain residue from weather conditions, passersby, running water - situations which would be impossible to reproduce. They must be archived in order from the longest soaking time to the shortest. This can be deduced by following the written notes on the back side of each and proceeding in reverse order. Their material presence is essential to retaining the memory of the event.
Since the parasites activation at the workshop, my work has continued to multiply. This multiplication was the movement that I incepted from the beginning, this is proper to the piece. I now present you with the three forms of the work to date:
The paper present:
As an artist, I have no idea how to archivally preserve coloured bond paper with laser ink and handwritten pen, salt, snow, grass-stains, etc. Right now I have them in a black garbage bag in my studio. They have dried out, so the garbage bag keeps them dry and keeps the sun from bleaching them. Nothing can be placed on them, because they will crush and lose their contour. They cannot be photocopied, scanned or migrated. They must be kept as close to their current state as possible.
Future growth:
After the event, I retained several Now Bulletins that were unused during the event. These can be used for the future. Should the work be displayed, I would like these to be used to chart the duration of the exhibition. In this case, one "original" must be used as a template from which to photocopy more future bulletins. One "future" bulletin will be mounted for each day of the exhibition in an archival ziplock filled with snow (this will melt, so it is only important that it once was snow). Each day of the exhibition a member of the gallery staff will puncture a pin-prick in the bottom of a bag. The water will leak out that day, and for the remainder of the exhibition the condensation in the bag will produce mold. This mold will chart the age of the event/document. At the end of the exhibition, these are to be digitally photographed and then the originals are to be disposed of. Please see the note at the bottom as to instructions for the digital photos.
Digital freeze-frame:
I have also scanned some of the work. These exist as jpeg images. These jpegs are currently on my computer and are files that are commonly accessible image files as of 2007. These files are to be maintained as digital files, transferred to cd, dvd or other mediums, but are not meant to be exhibited as printed images - I do not intend them to exist in paper-form, only as digital information or pixelated projections.
Archivist of the future:
This is a work that continues to multiply. I will maintain the paper and digital forms of the work in my personal estate.
As a living artist, you may consult me to direct you in preserving the work. I will use a highly accurate and specific method to choose which form to privilege in which situation. All three forms should be maintained as stated above. In the event of the work being remounted after my death or after I lose interest, I would like you to consult a medium, a psychic, or a ouija board, who (or which) will direct you on my behalf.
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