Lady Gaga is the larval stage of Yo-Landi Vi$$er. The previous, embryonic stage: Katy Perry.
It’s not bigger and longer than Star Wars, but it is more uncut: “Death of the Author [Psycho Shower Scene RECON]“ by Dick Whyte. This, somewhat like the later famous Star Wars video, is a “reconstruction of Alfred Hitchcock’s famous shower scene from Psycho using amateur YouTube remakes.” 57 of them.
If you got that and you’re ready to increase the avant-garde, see also “John Cage – 4’33″ [May '68 Comeback Special RECON]“ and “Andy Warhols Eat A Hamburger [38 Scenes From YouTube RECON].” All from 2010, but recalled here for your enjoyment.
Mel Croucher created an amazing computer game in 1984: Deus Ex Machina, a ZX Spectrum game that takes the player on an abstract journey through different stages of life in segments of fixed duration; it was sold with an audiotape that provided a synchronized soundtrack. The game is unrelated to the later and more famous Deus Ex. It was ported to the Commodore 64 and the MSX.
Croucher, who has been a writer on computing and was also apparently the first person to broadcast computer games over the radio as digital data, is now developing Deus Ex Machina 2, which will star You (Time’s 2006 Person of the Year) and Sir Christopher Lee.
The organizer of the People’s Republic of Interactive Fiction, Kevin Jackson-Mead, has organized and co-written a tribute to the 1992 They Might Be Giants Album, Apollo 18. At the PR-IF site, you can play and download 38 short games corresponding to every song (including the “Fingertips” songs) on the album. With its retro cachet, it may be today’s version of Dial-a-Song:
We talked about digital sound as well as some poetic and visual art matters on a panel on Feb 15 here at MIT with David Cossin, Ben Hogue, yours truly (Nick Montfort), Evan Ziporyn, and Joe Paradiso … backed for a while by ppg256-3:
Yo dawg, I hear you like blog posts. So I put a link to a blog post in your blog post. The link goes to my “Curator’s Note” on In Media Res about very short programs to generate music, in which I also mention how poorly suited prevalent Web systems are for transmitting and discussing code.
A group of sonic and code explorers has been discovering excellent super-short C programs that, piped to an 8-bit audio device, generate music. Here’s the first video and a second video with sounds and code.
Here’s the code for one example, “Lost in Space,” from video #2:
If you are also a righteous Ubuntu user, you can paste that into a file (let’s call it “lost_in_space.c”) and compile it with:
% gcc lost_in_space.c -o lost_in_space
Then, pipe it (or pretend to pipe it, using padsp, since recent versions of Ubuntu don’t have /dev/dsp) to your audio device using:
% ./lost_in_space | padsp tee /dev/dsp > /dev/null
Thanks to Andrew Stern for tipping me off about this one.
Death and the Powers had a brilliant and resonant U.S. premiere on Friday at the Cutler Majestic in Boston. I’ve been looking forward to the opera’s completion, and then to its coming to the U.S., for several years. My mentor from the B.U. poetry program, Robert Pinsky, wrote the libretto, and my current colleague Tod Machover composed the opera. Congratulations to all those who put this production together, including Tod’s Opera of the Future group at the Media Lab. Death and the Powers is technically intricate and thematically ambitious, and all of that came together perfectly. (Image source.)
Last night I projected words to accompany music at a local lounge. This practice does not seem have an established name – does it? Please let me know if you’re aware of the conventional term. I have heard the phrase “text jockey” used. I’ve also come up with some other terms that don’t seem to fit perfectly. In a sense, this is VJing, but it’s also a practice that is compatible with VJing, since words can be projected in a subtitle-like fashion on moving images.
Using a small bit of Python code and pyglet, I put a number of texts up a word at a time in very plain and uniform typography. Each successive word appeared centered on the same point as the last in a rapid, serial, and visual manner. Sometimes I showed several texts in juxtaposition, sometimes just one. I thought the combination of the Advanced Dungeons & Dragons Monster Manual and the text of Beckett’s Rockaby was particularly nice. The Unabomber manifesto and the Timecube website were utilized, as were Moby Dick, a Roberto Bolaño story, some altered versions of Little Red Riding Hood, a poem by Harry Mathews, and a few pieces I put together that drew randomly from word sets to confuse gender stereotypes and our notions of otherness. One of the people who came thanked me and said that he wasn’t expecting to spend the evening reading from great books, but that it was pretty cool.
My thanks to DJ Flack & Wayne and Wax, who very kindly invited me to join them.
A reminder that the deadline for the 2nd International Conference on Computational Creativity, taking place in Mexico City, April 27-29, 2011, is now in less than two months:
- December 13, 2010 – Submission deadline
- February 14, 2011 – Authors’ Notification
- March 14, 2011 – Deadline for final camera-ready copies
- April 27-29, 2011 – ICCC in Mexico City
I posted about the conference back in July; the CFP has been out since then and information has been up on the Web. Our site (I’m one of the organizers) now has resources for authors preparing papers as well as travel information.
Good luck to those preparing papers. I’ll hope to see some from Post Position and Grand Text Auto there in Méxio, D.F. at the end of April.
The opera and “robot pageant” composed by Tod Machover, directed by Diane Paulis and with a libretto by Robert Pinsky has finally been staged in Monaco. I won’t see it until it comes to the Boston area in a few months, but I’m delighted to see the project reach the stage. Death and the Powers (discussed in this WBUR interview) has been in the works for about a decade. I wrote about it as we rang in the new year (2006) at Grand Text Auto, and I was very pleased to hear the workshop performance of the opera at A.R.T., here in Cambirdge. By now, we not only have the performances in Monaco: The libretto has been printed in Poetry and is available online at the Poetry Foundation. And those of us in the US can look forward to the March arrival of Death and the Powers in Boston.
The typographical treatment of “Fuck You” in the video is much more straightforward than in the well-linked “Say What Again” video by Jarratt Moody, which sets dialogue from Pulp Fiction to animated type. The words and letters in “Say What Again” aren’t demanding to be read as insistently, and they’re doing so much that it’s a joy to see them in motion. When there’s not as much happening, getting presented visually with the same words that are being sung to me seems a bit like having someone slap me repeatedly while saying “Slap! Slap! Slap!”
Of course, type can be used with music to do other things besides writing out the lyrics. An even simpler typographical treatment can be seen in Flash pieces by Young-Hae Chang, including the excellent “Dakota.” In those, though, the text doesn’t repeat something in the audio channel, it proceeds at a rapid pace but is legible to the attentive viewer, and it all makes for compelling reading and listening. By the way, in case you think I’m wandering off topic, the first word of “Dakota” is “fucking.”
I wonder if a straightforward animated type video, a sort of blank slate, tends to encourage remixing and the creation of new videos? In any case, Cee-Lo’s song has already been mashed up with other videos. You can see what the last scene in Dirty Dancing is like when set to that tune, for instance.
Oh, and let’s not forget Ray Bradbury. This purports to be a picture of the famous writer watching Rachel Bloom’s video.
Local sound artist/electronic musician Keith Fullerton Whitman released an extraordinary piece on the b-side of his November 2009 cassette hallicrafters, inc. The piece is called 10 poke 54272+int(rnd(1)*25),int(rnd(1)*256) : goto 10 and is 18 minutes of sound produced by a Commodore 64 emulator running the BASIC program that is the title of the piece.
The memory locations beginning at 54272 are mapped on the Commodore 64 to the registers of the SID (Sound Interface Device). By POKEing random values into them, the SID, although it is a musical chip, is stimulated to produce sounds in what probably seems like a non-musical way: based on the effect of register settings and the sequence produced by the system’s random number generator, a polynomial counter.
I’m listening to the piece running on a hardware C64 now, which is soothing, although it seems like it shouldn’t be. Looking at the code, I note that the program
10 poke 54272+rnd(1)*25,rnd(1)*256 : goto 10
will put the same values into the same memory locations (and therefore SID registers) in the same order. The INT function is unnecessary because all arithmetic in C64 BASIC is done in floating point and then cast to integer whenever necessary. It’s possible that removing these functions will cause the piece to speed up, however, and I suspect it will, even though a BASIC interpreter could skip the unnecessary INT calls to begin with. There would be various ways of determining this, but the one I’d like to try involves getting two C64s, each with one version of the program, and seeing if they go out of phase.
By the way, I say that these two programs will put the same values in the same order because RND(1) returns a deterministic sequence. Any time either of these programs is invoked before other calls to RND are made, they will produce the same sequence. Using RND(0) would seed the random number generator on the jiffy clock, so would do different things depending upon how long the computer had been on before startup.
Thanks to sound artist and digital media scholar Kevin Driscoll, a.k.a. Lone Wolf, for letting me know about this.
Update: Hilariously, I overlooked that Whitman is not the author of this program – he credits Noah Vawter, a.k.a. Shifty, who is currently collaborating with me on a project about a one-line Commodore 64 BASIC program. I guess I was too distracted by that picture of an iPhone running a C64 emulator.
In Robot Rilke, you can find the selected poems of Rainer Maria Rilke translated by robots. “With a special biographical introduction cut-and-pasted from Wikipedia.”
If you love it, you may want to sing Robot Love, I Love You. (Video by Ignatz Topolino, audio by Echelon and Jane Dowe, a.k.a. Oh Astro.)
This was posted on March 12 and yet no more than 22,000 people know about it by now. So, I figured that I’d better mention: Home Taping is Killing Music. (Thanks to Allen on ifmud.) And remember … whenever you violate copyright, God kills a kitten.
Here are some tiny bits of code to generate some amusement and aesthetic value.
The album sc140 features 22 tracks, each one generated by no more than 140 characters of SuperCollider code. You can download 80 MB of MP3 (for the weak!) or grab the source code (less than 4 KB, with all the formatting) and, if necessary, install SuperCollider, which is free in every sense. Here’s a November New Scientist blog post about the album.
On the visual and literary side, check out Pall Thayer’s Microcodes, tiny art pieces in Perl. Thayer also offers a PDF guide to the appreciation of tiny programs. Some of Thayer’s program incorporate play with the human-legible dimension of code; “WAR has NO value,” now on the front page, is a simple and nice example of this.
Piksel, a festival for free-software-creating and -using artists and developers, has begun in Bergen, Norway. If you can’t drop by, at least visit the festival on the Web and check out the brilliant hackery on display at the main exhibition.