Re: Dante System Set UP

Yes

Peter Weisman
Technical Director
Arizona State University
School of Arts, Media & Engineering

From: Todd Ingalls
Sent: Sunday, April 22, 2018 3:45:57 PM
To: Peter Weisman
Cc: synthesis-operations@googlegroups.com; Xin Wei Sha; post@synthesis.posthaven.com; lauren.s.hayes@asu.edu; Xin Wei Sha
Subject: Re: Dante System Set UP
 
We also want multiple Dante via licenses. Can we start with 6?

todd

On Apr 19, 2018, at 7:08 PM, Todd Ingalls <TestCase@asu.edu> wrote:

Yes, the Dante software that has been purchased. 

todd

On Apr 19, 2018, at 6:46 PM, Peter Weisman <peter.weisman@asu.edu> wrote:

I purchase a batch of licences. Do we want a Via licence? I am not aware of a Dante software package. Dante Controller is a free download. Power and cabling should all be in place. Please let me know any specifics if I'm missing something.

Thanks

Pete

Peter Weisman
Technical Director
Arizona State University
School of Arts, Media & Engineering



From: Xin Wei Sha
Sent: Thursday, April 19, 5:02 PM
Subject: FW: Dante System Set UP
Dear Core SC team:
 
FYI, to make sure everyone is on the same page, Todd is stepping forward to take charge of setting up the Dante system according to how we need it for research in the sc / iStage.  This includes what Lauren and Todd have in mind.
 
This frees up the rest of the core team to tackle the rest of that TODO list Megan has posted.
 
Thanks!
Xin Wei
 
 
From: Todd Ingalls <TestCase@asu.edu>
Date: Thursday, April 19, 2018 at 4:21 PM
To: Megan Patzem <mpatzem@asu.edu>
Subject: Re: Dante System Set UP
 
Hi
I will need to have all the equipment in the stage with power and all cabling needed. I also need licenses and software for virtual soundcards as well as the dante software package. 
todd

On Apr 19, 2018, at 3:50 PM, Megan Patzem <mpatzem@asu.edu> wrote:
Hi  -
 
We realized that Dante still needs to be set up but doing so will interfere with a lot of research so we have tried to figure out a way around it.
 
Can you both  work on Dante during the week of April 30th - May 5th? I say this because we will be using iStage that week to set up the paper sky for Oana so iStage will mostly be unusable during that time. We figure it would also be a good time to allocate time to setting up Dante officially.
 
Will you both let me know if you can work that week?
 
Thanks!

Best wishes,


Megan Patzem

Multimedia Artist & Communications

School of Arts Media & Engineering + Digital Culture

Arizona State University

Mail Code: 5802

p: 
480-652-5333
  
f: 
480-965-0961
  

email: 
mpatzem@asu.edu

 

Re: Dante System Set UP

We also want multiple Dante via licenses. Can we start with 6?

todd

On Apr 19, 2018, at 7:08 PM, Todd Ingalls <TestCase@asu.edu> wrote:

Yes, the Dante software that has been purchased. 

todd

On Apr 19, 2018, at 6:46 PM, Peter Weisman <peter.weisman@asu.edu> wrote:

I purchase a batch of licences. Do we want a Via licence? I am not aware of a Dante software package. Dante Controller is a free download. Power and cabling should all be in place. Please let me know any specifics if I'm missing something.

Thanks

Pete

Peter Weisman
Technical Director
Arizona State University
School of Arts, Media & Engineering



From: Xin Wei Sha
Sent: Thursday, April 19, 5:02 PM
Subject: FW: Dante System Set UP
Dear Core SC team:
 
FYI, to make sure everyone is on the same page, Todd is stepping forward to take charge of setting up the Dante system according to how we need it for research in the sc / iStage.  This includes what Lauren and Todd have in mind.
 
This frees up the rest of the core team to tackle the rest of that TODO list Megan has posted.
 
Thanks!
Xin Wei
 
 
From: Todd Ingalls <TestCase@asu.edu>
Date: Thursday, April 19, 2018 at 4:21 PM
To: Megan Patzem <mpatzem@asu.edu>
Subject: Re: Dante System Set UP
 
Hi
I will need to have all the equipment in the stage with power and all cabling needed. I also need licenses and software for virtual soundcards as well as the dante software package. 
todd

On Apr 19, 2018, at 3:50 PM, Megan Patzem <mpatzem@asu.edu> wrote:
Hi  -
 
We realized that Dante still needs to be set up but doing so will interfere with a lot of research so we have tried to figure out a way around it.
 
Can you both  work on Dante during the week of April 30th - May 5th? I say this because we will be using iStage that week to set up the paper sky for Oana so iStage will mostly be unusable during that time. We figure it would also be a good time to allocate time to setting up Dante officially.
 
Will you both let me know if you can work that week?
 
Thanks!

Best wishes,


Megan Patzem

Multimedia Artist & Communications

School of Arts Media & Engineering + Digital Culture

Arizona State University

Mail Code: 5802

p: 
480-652-5333
  
f: 
480-965-0961
  

email: 
mpatzem@asu.edu

 

Re: Dante System Set UP

Yes, the Dante software that has been purchased. 

todd

On Apr 19, 2018, at 6:46 PM, Peter Weisman <peter.weisman@asu.edu> wrote:

I purchase a batch of licences. Do we want a Via licence? I am not aware of a Dante software package. Dante Controller is a free download. Power and cabling should all be in place. Please let me know any specifics if I'm missing something.

Thanks

Pete

Peter Weisman
Technical Director
Arizona State University
School of Arts, Media & Engineering



From: Xin Wei Sha
Sent: Thursday, April 19, 5:02 PM
Subject: FW: Dante System Set UP
Dear Core SC team:
 
FYI, to make sure everyone is on the same page, Todd is stepping forward to take charge of setting up the Dante system according to how we need it for research in the sc / iStage.  This includes what Lauren and Todd have in mind.
 
This frees up the rest of the core team to tackle the rest of that TODO list Megan has posted.
 
Thanks!
Xin Wei
 
 
From: Todd Ingalls <TestCase@asu.edu>
Date: Thursday, April 19, 2018 at 4:21 PM
To: Megan Patzem <mpatzem@asu.edu>
Subject: Re: Dante System Set UP
 
Hi
I will need to have all the equipment in the stage with power and all cabling needed. I also need licenses and software for virtual soundcards as well as the dante software package. 
todd

On Apr 19, 2018, at 3:50 PM, Megan Patzem <mpatzem@asu.edu> wrote:
Hi  -
 
We realized that Dante still needs to be set up but doing so will interfere with a lot of research so we have tried to figure out a way around it.
 
Can you both  work on Dante during the week of April 30th - May 5th? I say this because we will be using iStage that week to set up the paper sky for Oana so iStage will mostly be unusable during that time. We figure it would also be a good time to allocate time to setting up Dante officially.
 
Will you both let me know if you can work that week?
 
Thanks!

Best wishes,


Megan Patzem

Multimedia Artist & Communications

School of Arts Media & Engineering + Digital Culture

Arizona State University

Mail Code: 5802

p: 
480-652-5333
  
f: 
480-965-0961
  

email: 
mpatzem@asu.edu

 

Re: FW: Dante System Set UP

I purchase a batch of licences. Do we want a Via licence? I am not aware of a Dante software package. Dante Controller is a free download. Power and cabling should all be in place. Please let me know any specifics if I'm missing something.

Thanks

Pete

Peter Weisman
Technical Director
Arizona State University
School of Arts, Media & Engineering



From: Xin Wei Sha
Sent: Thursday, April 19, 5:02 PM
Subject: FW: Dante System Set UP
To: synthesis-operations@googlegroups.com
Cc: post@synthesis.posthaven.com, lauren.s.hayes@asu.edu, Xin Wei Sha


Dear Core SC team:
 
FYI, to make sure everyone is on the same page, Todd is stepping forward to take charge of setting up the Dante system according to how we need it for research in the sc / iStage.  This includes what Lauren and Todd have in mind.
 
This frees up the rest of the core team to tackle the rest of that TODO list Megan has posted.
 
Thanks!
Xin Wei
 
 
From: Todd Ingalls <TestCase@asu.edu>
Date: Thursday, April 19, 2018 at 4:21 PM
To: Megan Patzem <mpatzem@asu.edu>
Cc: "lauren.s.hayes@asu.edu" <Lauren.S.Hayes@asu.edu>, Xin Wei Sha <Xinwei.Sha@asu.edu>, Connor Rawls <Connor.Rawls@asu.edu>
Subject: Re: Dante System Set UP
 
Hi
I will need to have all the equipment in the stage with power and all cabling needed. I also need licenses and software for virtual soundcards as well as the dante software package. 
todd

On Apr 19, 2018, at 3:50 PM, Megan Patzem <mpatzem@asu.edu> wrote:
Hi  -
 
We realized that Dante still needs to be set up but doing so will interfere with a lot of research so we have tried to figure out a way around it.
 
Can you both  work on Dante during the week of April 30th - May 5th? I say this because we will be using iStage that week to set up the paper sky for Oana so iStage will mostly be unusable during that time. We figure it would also be a good time to allocate time to setting up Dante officially.
 
Will you both let me know if you can work that week?
 
Thanks!

Best wishes,


Megan Patzem

Multimedia Artist & Communications

School of Arts Media & Engineering + Digital Culture

Arizona State University

Mail Code: 5802

p: 
480-652-5333
  
f: 
480-965-0961
  

email: 
mpatzem@asu.edu

 

FW: Dante System Set UP

Dear Core SC team:

 

FYI, to make sure everyone is on the same page, Todd is stepping forward to take charge of setting up the Dante system according to how we need it for research in the sc / iStage.  This includes what Lauren and Todd have in mind.

 

This frees up the rest of the core team to tackle the rest of that TODO list Megan has posted.

 

Thanks!

Xin Wei

 

 

From: Todd Ingalls <TestCase@asu.edu>
Date: Thursday, April 19, 2018 at 4:21 PM
To: Megan Patzem <mpatzem@asu.edu>
Cc: "lauren.s.hayes@asu.edu" <Lauren.S.Hayes@asu.edu>, Xin Wei Sha <Xinwei.Sha@asu.edu>, Connor Rawls <Connor.Rawls@asu.edu>
Subject: Re: Dante System Set UP

 

Hi

I will need to have all the equipment in the stage with power and all cabling needed. I also need licenses and software for virtual soundcards as well as the dante software package. 

todd


On Apr 19, 2018, at 3:50 PM, Megan Patzem <mpatzem@asu.edu> wrote:

Hi  -

 

We realized that Dante still needs to be set up but doing so will interfere with a lot of research so we have tried to figure out a way around it.

 

Can you both  work on Dante during the week of April 30th - May 5th? I say this because we will be using iStage that week to set up the paper sky for Oana so iStage will mostly be unusable during that time. We figure it would also be a good time to allocate time to setting up Dante officially.

 

Will you both let me know if you can work that week?

 

Thanks!


Best wishes,

Megan Patzem

Multimedia Artist & Communications

School of Arts Media & Engineering + Digital Culture

Arizona State University

Mail Code: 5802

p: 480-652-5333  f: 480-965-0961  

email: mpatzem@asu.edu

web: meganpatzem.webflow.io

 

on the importance of researcher's experience in the scientific study of subjective experience

Al Bregman, Keynote on Auditory Scene Analysis, CIRMMT McGill. June 2008
( One of the principal scientists of psychoacoustics comments on the importance of a researcher being guided by his/her own felt experience in the study of subjective experience. )


Subjectivity and objectivity. 

At this point, I want to interject a few words about subjectivity and objectivity in psychological research. The personal experience of the researcher has not fared well as acceptable data for scientific psychology. Since the failure of Titchener’s Introspectionism, a very biased form of report of one’s experience, in the early twentieth century, and the rise of Behaviourism to replace it, scientific psychology has harboured a deep suspicion of the experience of the researcher as an acceptable tool in research.
You would think that the study of perception would be exempt from this suspicion, since the subject matter of the psychology of perception is supposed to be about how a person’s experience is derived from sensory input. Instead, academic psychology, in its behaviouristic zeal, redefined perception as the ability to respond differently to different stimuli – bringing it into the behaviourist framework. We may be doing research nowadays on cognitive processes, but the research methods are, on the whole, still restricted to behaviouristic ones. Since it was a perceptual experience of my own (the rapid sequence of unrelated sounds) that set me off on a 40-year period of study. of perceptual organization, I have always questioned the wisdom of this restriction.

In my many years of research on how and when a mixture of sounds will blend or be heard as separate sounds, my own personal experience and those of my students has played a central role in deciding what to study and how to study it. When I encouraged students to spend a lot of time listening to the stimuli and trying out different patterns of sound to see which ones would show the effect we were interested in, far into the academic year, and nearing the time that they should have been carrying out their experiments, they would get nervous and ask when they would start doing the “real research”. I told them that what they were doing now was the real research, and the formal experiment with subjects and statistics was just to convince other people.

Furthermore the role of subjectivity has often been criticized by journal reviewers: In the reviews of my first published article on auditory stream segregation, which showed that a rapid alternation of high and low sounds segregated into two perceptual streams, one of the skeptical reviewers proposed that there was something wrong with my loudspeakers – perhaps they continued to give out sound after the tone went off – and insisted that I test them.

I was convinced that if the reviewers had merely listened to the sounds, their objections would have evaporated, but in those days you didn't send in audio examples with your manuscript, and I’m not sure it would be acceptable for most journal editors even today.
…
Anyway, I got around the taboos about subjective data by giving many talks accompanied by auditory examples and by eventually publishing my own Compact Disk of auditory demonstrations. However, the CD didn't come until 23 years after the first research paper. Nowadays you could put demonstrations on the web and refer reviewers to the website.

Another thing that reviewers have criticized was the use of a subjective rating scale, asking listeners, for example, to rate on a 1 to 7 scale how clearly they could hear a sound in a mixture. Perception journals on the whole prefer tasks that involve accuracy. This is in keeping with the behaviouristic view of perception as the ability to make different responses to different stimuli. According to this view, you should be able to score the answers of the subjects as either correct or incorrect (For example by asking whether a particular sound was or was not present in a mixture of sounds) rather than simply accepting the listeners’ answers when they rate the clarity with which a target sound can be heard.

Sometimes we have used both types of measures, subjective rating scales and measures of accuracy, either in the same experiment or in a pair of related experiments. The two measures have given similar results, but the subjective rating scales have been more sensitive. I think the reason for their superiority is that they are a more direct measure of the experience, whereas turning one’s experience into the ability to form a discrimination between sounds brings in many other psychological processes that are involved in comparison and decision making.

As a result of my belief in experience as an important part of Psychology, I’m going to try to describe some of my research on auditory perception, but I won't give any data. Instead, I’m going to support my arguments with audio demonstrations to the extent that time permits. 

on the importance of researcher's experience in the scientific study of subjective experience

Al Bregman, Keynote on Auditory Scene Analysis, CIRMMT McGill. June 2008
( One of the principal scientists of psychoacoustics comments on the importance of a researcher being guided by his/her own felt experience in the study of subjective experience. )


Subjectivity and objectivity. 

At this point, I want to interject a few words about subjectivity and objectivity in psychological research. The personal experience of the researcher has not fared well as acceptable data for scientific psychology. Since the failure of Titchener’s Introspectionism, a very biased form of report of one’s experience, in the early twentieth century, and the rise of Behaviourism to replace it, scientific psychology has harboured a deep suspicion of the experience of the researcher as an acceptable tool in research.
You would think that the study of perception would be exempt from this suspicion, since the subject matter of the psychology of perception is supposed to be about how a person’s experience is derived from sensory input. Instead, academic psychology, in its behaviouristic zeal, redefined perception as the ability to respond differently to different stimuli – bringing it into the behaviourist framework. We may be doing research nowadays on cognitive processes, but the research methods are, on the whole, still restricted to behaviouristic ones. Since it was a perceptual experience of my own (the rapid sequence of unrelated sounds) that set me off on a 40-year period of study. of perceptual organization, I have always questioned the wisdom of this restriction.

In my many years of research on how and when a mixture of sounds will blend or be heard as separate sounds, my own personal experience and those of my students has played a central role in deciding what to study and how to study it. When I encouraged students to spend a lot of time listening to the stimuli and trying out different patterns of sound to see which ones would show the effect we were interested in, far into the academic year, and nearing the time that they should have been carrying out their experiments, they would get nervous and ask when they would start doing the “real research”. I told them that what they were doing now was the real research, and the formal experiment with subjects and statistics was just to convince other people.

Furthermore the role of subjectivity has often been criticized by journal reviewers: In the reviews of my first published article on auditory stream segregation, which showed that a rapid alternation of high and low sounds segregated into two perceptual streams, one of the skeptical reviewers proposed that there was something wrong with my loudspeakers – perhaps they continued to give out sound after the tone went off – and insisted that I test them.

I was convinced that if the reviewers had merely listened to the sounds, their objections would have evaporated, but in those days you didn't send in audio examples with your manuscript, and I’m not sure it would be acceptable for most journal editors even today.
…
Anyway, I got around the taboos about subjective data by giving many talks accompanied by auditory examples and by eventually publishing my own Compact Disk of auditory demonstrations. However, the CD didn't come until 23 years after the first research paper. Nowadays you could put demonstrations on the web and refer reviewers to the website.

Another thing that reviewers have criticized was the use of a subjective rating scale, asking listeners, for example, to rate on a 1 to 7 scale how clearly they could hear a sound in a mixture. Perception journals on the whole prefer tasks that involve accuracy. This is in keeping with the behaviouristic view of perception as the ability to make different responses to different stimuli. According to this view, you should be able to score the answers of the subjects as either correct or incorrect (For example by asking whether a particular sound was or was not present in a mixture of sounds) rather than simply accepting the listeners’ answers when they rate the clarity with which a target sound can be heard.

Sometimes we have used both types of measures, subjective rating scales and measures of accuracy, either in the same experiment or in a pair of related experiments. The two measures have given similar results, but the subjective rating scales have been more sensitive. I think the reason for their superiority is that they are a more direct measure of the experience, whereas turning one’s experience into the ability to form a discrimination between sounds brings in many other psychological processes that are involved in comparison and decision making.

As a result of my belief in experience as an important part of Psychology, I’m going to try to describe some of my research on auditory perception, but I won't give any data. Instead, I’m going to support my arguments with audio demonstrations to the extent that time permits. 

Mirages & miracles, Lyons France. AR art exhibition

Augmented Reality AR worth doing :
Mirages & miracles / Exposition / Création décembre 2017, Les Subsistances, Lyon, France

Mirages & miracles / Exposition / Création décembre 2017, Les Subsistances, Lyon, France.
Une série d’installations qui abritent un animisme numérique.
Les œuvres, du petit au grand format, offrent toutes une coïncidence finement organisée entre virtuel et matériel : dessins augmentés, dispositifs d’illusions holographiques, casques de réalité virtuelle, projections grande échelle. Elles donnent à vivre un ensemble de scénarios improbables qui tiennent à la fois du mirage et du miracle, qui jouent à la frontière entre le vrai et le faux, l’animé et l’inanimé, l’authentique et l’imposture, la magie, le merveilleux, et l’inouï.

Synthesis: timelapse of sc evolution in iStage 10-11 Nov 2017, SLSA

Time-lapse of sc system evolving its state according to events in iStage all day during SLSA 2017 at ASU,  November 10 & 11, 2017,

Friday 10 Nov 2017

9:00 AM – 10:30 AM
3G “Game Studies 1: Roundtable with Ian Bogost” 
Ian Bogost (GaTech), Alenda Chang (UCSB, Edmond Y. Chang (Ohio), Heidi Coleman (Chicago), Patrick Jagoda (Chicago), Patrick LeMieux (UC Davis), Timothy Welsh (Loyola)

11:00 AM - 12:30 PM
Synthesis Open Atelier: Serra Vegetal Life and Other Scenarios  
Oana Suteu, Todd Ingalls, Sha Xin Wei, Brandon Mechtley, Chris Ziegler + Synthesis


9:00 AM – 5:00 PM
Synthesis Responsive Environments / Time Out  
Immerse yourself in a rich media environment, talk with our researchers and artists, or relax in our playful, poetic atmospheres.

11:00am-12:30pm
8F “Beyond Plant Blindness: To See the Importance of Plants for a Sustainable World” Chair: Bryndís Snæbjörnsdóttir 
Giovanni Aloi (SAIC), Dawn Sanders (Göteborgs, Sweden), Bryndís Snæbjörnsdóttir (Iceland Academy of Arts), Mark Wilson (Cumbria UK)

2:00-3:30 PM
Responsive Environments Roundtable
Sha Xin Wei (ASU Synthesis), Tom Lamarre (McGill), Todd Ingalls (ASU Synthesis), Oana Khintirian (Montreal), Stacey Moran (ASU), Chris Ziegler (ASU Synthesis) and guests

Thanks to Dan Jackson and Megan Patzem (AME) for producing the video documentation.

_________________________________________________
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
_______________________________________________________