just a test
Hello, All!
Here are the meeting notes from last week’s lighting workshop meeting. I’m also attaching the document.
Thank you,
Kristi
——
Wednesday, 9/10/2014 Meeting Notes
Lighting Workshop (Fall 2014) Planning Session
(Attending: Xin Wei, Chris, Pete, Ozzie, Byron, Mike K., 3 students)
Preparing a presentation and a performance
It’s about rhythm, sounds and frequencies. XW will work with Chris and Omar about lighting. Also, some Grads should talk to Omar about what they want to do with the lights, what they want to achieve experientially.
Corpus that emits light by movement in a blackbox (front, backwards recognition, body architecture, synchronicity, shadows, reflection, casting) – question of self and other “when is this my body?” It’s not so clear anymore… delays in time… “is the shadow mine, or someone else’s?”
Temporal space
Kant – symmetry; left, right… the construction of identity. David Morris wrote an essay about phenomenology. Refer to that essay.
Auditory and optical space in time. If we have zero agency shadows….
Julian Stein’s Rhythm Toolkit
Record (Jitter code); temporal displacement (the shadow of a flickering light)
Chris: shadow and perception – silhouettes
We can get extremely precise in a small, 3-day exercise: easy to accomplish things with our kit. …by the 17th or 18th, then we can get our hands on the GitHub and laptops and access to really run the code in the blackbox. Work with the systems to modify cues….
September goals
Everyone show know the TML code, the video stuff and the GitHub.
Everyone should know Julian Stein (first point of contact – he’s the one-stop shop, the one responsible for the kit), Evan Montpellier and Navid Navab.
Have some creative exercises happening in the iStage… movement games, with tracking and non-tracking lights, etc. Then Xin Wei will talk with Pavan and his grad students.
(On Wednesdays from today on out, we’ll talk about the research questions.)
Synchronicity and “Entrainment”
Construct algorithms to make detectors (Pavan) – phenomenological, listen to the students (Nov) – make a rhythm toolkit. The first version is in the GitHub.
In March, work with Pavan and Byron to make those instruments – when John and Fiona come in March – “Heartbeat” – and we’ll have the instruments
Adrian Freed has a rich description of different kinds of synchronicity and temporal textures (CNMAT); co-mingling. We’ll try to get him here to do a workshop.
1). Rhythm is not based in symmetric regularity – being in sync didn’t require it at all. We’re trying to build computational algorithms…
Or it might be energy-transfer….
2). Rhythm doesn’t have to be one-dimensional. What does it mean? Take a video on the floor, put it in space.
Set up on the 13-14 Nov; start workshop on the 17th (Lighting Workshop)
Here is a thread about a possible cluster for “improvisational environments”: a mobile platform for chamber- and building-scale shadow puppetry, combining:
mechatronics +
lighting
a sensing and media choreography system +
“radio”
Here’s just one example of a series of projects that such a Puppetry++ Cluster could mount,
building on relationships and friendships developed over recent years with some exciting artists and scholars, with high impact work.
Possible Phases:
• Recruit interested volunteers with a good blend of aesthetic judgment, engineering chops, and elegant whimsy
• Build a kit for improvising such puppetry live in the iStage
• Try out in Spring with experimental puppeteers
• Crit with experienced artists
Oana Suteu, master filmmaker and animation editor Montreal/Paris
Laura Heit, Matchbox Series
• Document and publish first phase works
• Apply for external funding
• Residency Workshop(s) with
Manual Cinema
Mick Taussig, Sun and Sea project
Hi,What I have in mind is a mobile platform for chamber and building-scale shadow puppetry, driven by mechatronics + our Max/MSP/Jitter sensing and media choreography systems, + “radio”.In terms of content and style — just to let you know where we're coming from, here are some inspirations:• BluBlu MUTO, https://vimeo.com/993998• Manual Cinema, Lula del Ray, https://vimeo.com/52391900• Royal de Luxe, The Little Girl Giant - The Sultans Elephant, https://vimeo.com/11107046Omar Faleh, TML-Synthesis’ senior grad researcher in this urban media initiative, visited Royal de Luxe’s home city Nantes.<rant>I’d like to stay away from all the "tech-art" geek discourses from the 90’s that never played outside the Empire of new media.</rant>Not knowing the economies here in Phoenix and in SoCal, one of my questions is what sources of funding exist for such work?Xin Wei
On Sep 12, 2014, at 12:54 PM, Byron Lahey <Byron.Lahey@asu.edu> wrote:Hi All,It goes without saying that I'm interested in this project. Kinetic sculpture, puppetry, light and shadow systems are all important parts of my artistic pallet. It also goes without saying that my time is largely spoken for by my dissertation work, so I would like to stay connected with this project, but will have to limit my direct involvement. I would certainly offer my camera/projector system as a tool for this work if it fits in any way (though I would likely have to hand off programming and maintenance duties to another willing person or persons).Another artist who might be interested in collaborating on this work is Al Price. He is an ASU MFA graduate and has done numerous large scale public art projects around and outside the Phoenix area. This is a project of his that I find particularly enchanting and which seems to directly resonates with the examples Xin Wei shared: http://www.alpricestudio.com/new-gallery-5/
Best,Byron
CC Newsletter September 2014
Connecting Cities Events 2014
Here's a quick overview of the Summer/Autumn Connecting Cities Events:
Event # 6 11 – 14 September: Connecting Cities: Urban Reflections, Public Art Lab @ Berlin
Event # 7 12 – 14 September: Connecting Cities Event, Riga 2014 @ Riga
Event # 8 25 – 27 September: Medialab-Prado @ Madrid
Connecting Cities Event #6 @ Berlin
Connecting Cities: Urban Reflections, Public Art Lab
Connecting Cities: Urban Reflections
11 - 14 Sep 2014, – Light Parcours, Brunnenstr. 64-72
11 - 13 Sep 2014, Symposium, SUPERMARKT Brunnenstr. 64
11 - 13 Sep 2014, Workshops, SUPERMARKT Brunnenstr. 64
No Plans for tonight? Mark your calendar! Connecting Cities: Urban Reflections
Join for our Light Parcours, the Symposium and Workshops!
From 11 – 14 September a rich programme with workshops, the Connecting Cities: Urban Reflections – Symposium (curated by Public Art Lab in cooperation with SUPERMARKT) and the Connecting Cities: Urban Reflections – Light Parcoursincluding audiovisual works and an urban picnic will take place.
Connecting Cities: Urban Reflections – Symposium and Workshops
From 11 – 13 September artists' workshops by Suse Miessner, Charlotte Gould & Paul Sermon, Moritz Behrens & Nina Valkanova, Dr. Alexander Wiethoff & Marius Hoggenmülleras well as keynotes from Mark Shepard, Paul Sermon, Moritz Behrens and the speakersNicole Srock-Stanley, Dr. Alexander Wiethoff, Dr.Eva Hornecker, Dr. Bastian Lange,B_tours and many more will be offered…
Find all the Panels here!
Connecting Cities: Urban Reflections – Light Parcours
During ‚Connecting Cities: Urban Reflections‘ Public Art Lab will transform the shop windows in the Brunnenstrasse into interactive light and projection windows. Connecting Cities will make the neighborhood shine! The Connecting Cities projectsOccupy the Screen, Smart Citizen Sentiment Dashboard, Urban Alphabets, Human Beeingwill be shown, as well as works from Lichtpiraten, a performance by Scott Sinclair vs. ESOC and a cooperation project of Public Art Lab and Quartiersmanagement Brunnenstraße, the students of Leuphana University Lüneburg and the Bauhaus -Universität Weimar and a video programme by Screen City and Videospread.
Find the programme here or download the programme leaflet here!
Picture: © Public Art Lab
Event # 7 Staro Riga 2014 @ Riga 2014, Riga
12 – 13 September 2014, Esplanāde 2014 Culural Chalet, Riga, Latvia
Two days and two interactive projects will unite Riga and Berlin.
Suse Miessner's project ‘Urban Alphabet’ is an interactive neighbourhood art project that invites peaople to create their own urban alphabet by capturing letters with an especially developed application, when walking around the city. After collecting the letters in the public space, the screens and projections will give access to the database and invite the participants to write a personalized postcards to the other connected cities.
Charlotte Gould and Paul Sermon's project ‘Occupy the Screen’ is an interactive telepresent public video installation designed for site-specific impromptu performance and user interaction. It will connect two cities and the people will meet on the screen as a third space.
Picture: © Paul Sermon
Connecting Cities Event #8 @ Medialab-Prado, Madrid
26 – 27 September: Medialab-Prado, Madrid, Plaza de las Letras
Bees, plants, urban alphabets and many other elements of the city come to life on the digital facade of the Medialab-Prado. From the 26 – 27 the facade located at the Plaza de las Letras becomes an interactive canvas!
The projects Urban Alphabets (Suse Miessner), Human Beeing (The Constitute),Telepuppet.tv (Ali Momeni & Nima Dehghani), Organic cinema (World Wilder Lab) andn'UNDO (n’UNDO organización).
More Information here!
Picture: © n’UNDO organización
Connecting Cities Event #9 Nuit Blanche@ iMAL Brussels
In the framework of the Participatory City 2014, the Quinzaine Numérique and during theNuit Blanche Bruxelles, iMAL presents telepuppet.tv, by Ali Momeni & Nima Dehghani (USA/Iran).
Join the Nuit Blanche Brussels! Telepuppet.tv is a crowd-sourced storytelling platform that combines augmented-puppetry with urban projection performance. Traveling through the streets of the city centre, artists Ali Momeni & Nima Dehghani (USA/Iran) will project videos filmed this summer, in Iran, by augmented puppets. A way to share experiences of immigration across time and space on our planet.
In the framework of Connecting Cities 2014: Participatory City, Telepuppet.tv will also be presented in Madrid (Medialab-Prado, 25 - 26.09) and Liverpool (FACT)!
Picture: © Ali Momeni & Nima Dehghani
CALL FOR PROPOSAL FOR THE VISIBLE CITY 2015
Deadline: 31 October 2014
BERLIN - BRUSSELS - HELSINKI - LINZ -LIVERPOOL - MADRID - MARSEILLE - MONTREAL - SAO PAULO - ZAGREB
Our modern cities are hybrid structures in which technology is invisibly interweaved in the perception layers of our everyday lives. With the curatorial theme of InVISIBLE and VISIBLE Cities we want to develop an awareness on the changes which are hardly visible to the eyes and are underlying our nowadays’ cities.
Please submit your project proposal until 31 October, 2014 here.
Picture: © Public Art Lab
RECAP Connecting Cities Event #5 @ Linz
C … what it takes to change, Ars Electronica
4 - 8 September 2014, Linz, Austria
8 September, Connecting Cities Workshop
From 4 - 8 September the Connecting Cities artists Moritz Behrens & Nina Valkanova showed their project Smart Citizen Sentiment Dashboard (SCSD) on the facade of the Ars Electronica building. Visitors and Citizen could vote how happy they are i.e. with the mobility of the city of Linz. Ars Electronica Futurelab presented their project Entangled Sparks with a series of workshops and presentations on the Ars Electronica building, where every visitors could access one pixel of the facade.
Have a look at the photos here!
Picture: © Public Art Lab
RECAP: Connecting Cities Workshop: Design Fiction and Narrative Prototyping @ 403 Art Center, Wuhan, China
31 July - 09 August.2014 Summerfestival - Back to the Future
31 July - 09 August 2014 Workshop
DESIGN FICTION & NARRATIVE PROTOTYPING
Connecting Cities with the tools of the future
In July the first Connecting Cities workshop in China organized by Marc Piesbergen (CC manager China) and the 403 Art Center Wuhan was held by Christian Zöllner (The Constitute) and Julian Adenauer (Sonice Development)
Nearly 40 students from Huazhong University of Science and Technology, Hubei Institute of Fine Arts and Wuhan University of Science and Technology participated. The 9 student groups each designed their own device for the future sci-fi world.
The results of the intense two-week Connecting Cities workshop will be published soon onwww.connectingcities.net.
Picture: © The Constitute
Call for outstanding Media Architecture
Are you a student? Would you like to receive a travel scholarship for the Media Architecture Biennale 2014?
Then sign up for the MAB24H student design competition. Commencing on October 1 14:00 (CET), teams will have 24 hours to create a design, write a paper, maintain a blog and produce a short video. The winning team is invited to present their conceptual work at the biennale and will receive a travel grant to the amount of EUR 1,000.
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Thanks, I love the mimetic writing assignments, must try that - a huge challenge!
[ Synthesis: This recent thread recaps a discussion about what sensors are sensing, the observer / observed problem, and characteristic time. - Xin Wei ]
From: Adrian Freed [mailto:adrian@adrianfreed.com]
Sent: Friday, August 15, 2014 8:28 AM
To: Vangelis L; Vangelis L; marientina.gotsis@gmail.com; John MacCallum; Sha Xin Wei
hi, Vangelis, Marientina
John and Teoma may bring this box of goodies down to show you. It is a quick prototype for them to experiment with to help them figure out what they need for their IRCAM project. It has an x-OSC with imu, analog devices 2-lead EKG chip and inputs for a handmade respiration sensor based on EEonyx fabrics and an ear-clip pulse sensor (https://www.sparkfun.com/products/11574).
Obviously I would build something more substantial for regular use but this should suffice for building the signal processing and evaluating the sensors.
Incidentallally, Marientina it occurs to me that an ear lobe pulse sensor has a lot of potential for the large scale walking meditation experiments you discussed. It gives a muscle-noise free pulse signal and somebody must have created a BLE earring by now? Intel is building this kind of sensor into earbuds:http://www.sfgate.com/technology/article/50-Cent-Intel-team-on-heart-beat-headphones-5690650.php
<image001.jpg>
==================================================
On Aug 18, 2014, at 3:33 AM, Sha Xin Wei <shaxinwei@gmail.com> wrote:
Motivated by the same “curiously skeptical” judgment, I decided form the get go that the TML would avoid “physiological" sensors.
The practical ethical problems far exceeded any artistic or scientific or pedagogical contribution I could imagine us making. In fact, the main pedagogical contribution was and is Adrian’s observation.
On a different, related matter:
As for CO2, or other gas sensing — I advised a former colleague who was just getting into that in one of his installation pieces that there are a lot of molecules out there in a typical room, and the room’s CO2 levels don’t change all that fast due to breathing bodies, even if you stuff a bunch of them onto pallets in a room and make them watch pseudo-mystic videos. The characteristic time of changes from such aggregate sensing is much longer than the characteristic time of a human twiddling thumbs waiting for something to happen. (I think the statement is true whether thumbs are twiddled mentally or with physical tendons.) In and fact, it was so.
How can young artists get a feel for material experiment?
Xin Wei
==================================================
On Aug 18, 2014, at 5:05 AM, Adrian Freed <adrian@adrianfreed.com> wrote:
On Aug 18, 2014, at 3:33 AM, Sha Xin Wei <shaxinwei@gmail.com> wrote:
The characteristic time of changes from such aggregate sensing is much longer than the characteristic time of a human twiddling thumbs waiting for something to happen. (I think the statement is true whether thumbs are twiddled mentally or with physical tendons.) In and fact, it was so.
Yes, this notion of characteristic time is a good one and raises some interesting questions philosophers have looked at such as whether there are kinds of perception and knowings (consciousness) that people (and larger things such as biospheres and the universe) can have that operate over much longer or much shorter time frames
than we are commonly familiar with.
How can young artists get a feel for material experiment?
I believe John and Teoma are planning to do this by producing events that experimentally coarticulate the materialities of performer bodies (dance, musicians)
and the materialities of sound (yes, I am rejecting important arguments for the immateriality of sound and music). The challenge for them is how
to notice interesting results through the blizzard of ungrounded hermeneutic noise wearing the seductive, rose glasses of technique? This noise is what the use of biosensors produces. Technique frames everything by its regimes of discipline and control. Material agency is thus able to slip unnoticed out of the scene
and go down the road for a good drink at the local pub.
==================================================
On Aug 18, 2014, at 5:53 AM, Sha Xin Wei <shaxinwei@gmail.com> wrote:
Seriously, how do we think techniques of observation together
with techniques of performance? I know it may be confusing to use those pair of terms -- observation and performance...
we need a better vocabulary that retains some of the mechanisms of entanglement from quantum mechanics, but not this dualism.
Xin Wei
==================================================
On Aug 18, 2014, at 7:00 AM, Adrian Freed <adrian@adrianfreed.com> wrote:
Teoma has done a nice job in this piece we just finished recording ("X") of expressively challenging that dualism with numerous
ambiguous framings and reframings of the gaze - a productive place to confront the problems of observation/performance.
How do we move past this stage of exploring and celebrating this difficulty?
All I have to offer so far on the "better vocabulary" front is to account for the fragilities of intersubjectivity
(the process that coproduces performance and observation) using the metaphor of a contract. I haven't unpacked this much
in solid writings yet.
==================================================
On Aug 23, 2014, at 11:53 AM, Adrian Freed <adrian@adrianfreed.com> wrote:
I would add that the observation/performance pair problems are connected to the problems of signal/noise - both dependent
on POV and preschema. Another tactic I have started to explore is the material agency of "lenses" (or filters as lenses are framed in the signal processing literature). This points to bringing in the material aspects of intersubjectivity - one of the key conundrums of quantum theory that has had to invoke a lot of magic around the macroscopic and microscopic properties
of "apparatus" to keep the rest of the theory coherent.
==================================================
On Aug 23, 2014, at 12:02 PM, Adrian Freed <adrian@cnmat.berkeley.edu> wrote:
Vangelis has been tracking the ready-to-wear IMU space more carefully than I.
I am hoping IMU's are a temporary bootstrap and that we will have less encumbering techniques with
absolute position measurements such as the upcoming Sixense Stem system.
My fear is that we will be surrounded by even cheaper, slower, uncalibratable IMU's before the situation
improves substantially.
Keep an eye out for the next-gen x-OSC with a built-in charger and better IMU.
==================================================
Hi
__________________________________________________________________________________
Dehlia — As a tangent from your tangent about the material turn, here’s Jonathan Sterne’s essay, “What Do We Want?” “Materiality!” “When Do We Want It?” “Now!” ( http://sterneworks.org/Sterne--Materiality.pdf )
Maybe we could use it as a survey in a course on technology someday...
Ed and David — in the same essay as an aside Jonathan makes some comments about forms of writing (e.g. book, journal article), and event (e.g the seminar, or music lesson) :
"Geoff Bowker’s materialist and somewhat scary analysis of our own situation in the production of knowledge is quite telling. As he surveys the every-grow- ing glut of journal articles, each of which has a smaller and smaller audi- ence, he sees: “We are clearly not creating a species of knowledge-power appropriate to the issues that we face. We are producing knowledge that is predicated on and replicates mass production and mass consumption. Our information infrastructure, willy-nilly, is the fold in the Moebius strip that permits the world to seem as society writ large” (chapter 5, this book). The declining relevance of the journal article as the materialization of schol- arly knowledge, and the uncertain struggle to find alternatives, demands a certain patience, since if there is a new form of knowledge coming, it hasn’t yet arrived. Bowker finds some hope in massive collaborations and new database logics. For my part, I retain some confidence in the resiliency of both the essay form and the codex, which have thrived for hundreds of years. Meanwhile, the journal article seems to undergo transformations every two or three decades.
Boczkowski and Siles turn more hopefully to pedagogy as a solution, get- ting students to work across disciplinary categories. If I still believe in the book and the essay, I still believe in the seminar even more. I am experi- menting with disallowing rehearsals of “technological vs. cultural deter- minism” arguments in my classes and exams. It’s harder than it sounds, especially when the rhetoric of techno-utopianism is alive and well in the commercial world and still operates in the truth spaces of journalism and online discussion. It’s also difficult given how much this comes up in cultural analyses of technology of whatever stripe. But if we want to get beyond the argument, our students stand a better chance of succeeding than we do, so it’s up to us to stop trying to reproduce it, even as a historical curiosity. At the graduate level, my seminar on the historiography of new media in winter 2013 takes Boczkowski’s approach to the extreme, though my model is less the social scientific diagram (with its quadrants) than the record collection with its eclecticism. Students will select the topic of their semester’s research at the beginning of the term and each week retrieve a primary source relevant to it. Each week, they will also read a distinc- tive work of media historiography (mostly books, since that is still the core traffic in the field). They will then write about their artifact in the style of the author, which requires them to determine what the important stylistic aspects of the work really are. At the end of the term, the students can then revise these short papers into something longer, synthesized into some- thing approaching their own authorial style. The approach is meant to encourage openness to other ways of writing and thinking, to free students of the pressure to take positions as their own against the positions of oth- ers, and to challenge them to reverse-engineer the work of other scholars so that they get a better sense of what’s actually involved in the interface between writing and thought. The pedagogy imposes some strict limits and demands for imitation (at first) to encourage creativity by freeing students of the demand for creativity in the places we usually look for it (choice of object, originality of voice, etc). It is drawn from how musicians learn their instruments: when I wanted to learn to play a good bass line, my teachers had me learn to imitate what the best bassists did. I either succeeded and incorporated their techniques with my own, or failed and came up with something original-sounding in the process.”
Boczkowski and Siles turn more hopefully to pedagogy as a solution, get- ting students to work across disciplinary categories. If I still believe in the book and the essay, I still believe in the seminar even more. I am experi- menting with disallowing rehearsals of “technological vs. cultural deter- minism” arguments in my classes and exams. It’s harder than it sounds, especially when the rhetoric of techno-utopianism is alive and well in the commercial world and still operates in the truth spaces of journalism and online discussion. It’s also difficult given how much this comes up in cultural analyses of technology of whatever stripe. But if we want to get beyond the argument, our students stand a better chance of succeeding than we do, so it’s up to us to stop trying to reproduce it, even as a historical curiosity. At the graduate level, my seminar on the historiography of new media in winter 2013 takes Boczkowski’s approach to the extreme, though my model is less the social scientific diagram (with its quadrants) than the record collection with its eclecticism. Students will select the topic of their semester’s research at the beginning of the term and each week retrieve a primary source relevant to it. Each week, they will also read a distinc- tive work of media historiography (mostly books, since that is still the core traffic in the field). They will then write about their artifact in the style of the author, which requires them to determine what the important stylistic aspects of the work really are. At the end of the term, the students can then revise these short papers into something longer, synthesized into some- thing approaching their own authorial style. The approach is meant to encourage openness to other ways of writing and thinking, to free students of the pressure to take positions as their own against the positions of oth- ers, and to challenge them to reverse-engineer the work of other scholars so that they get a better sense of what’s actually involved in the interface between writing and thought. The pedagogy imposes some strict limits and demands for imitation (at first) to encourage creativity by freeing students of the demand for creativity in the places we usually look for it (choice of object, originality of voice, etc). It is drawn from how musicians learn their instruments: when I wanted to learn to play a good bass line, my teachers had me learn to imitate what the best bassists did. I either succeeded and incorporated their techniques with my own, or failed and came up with something original-sounding in the process.”
pp 126-127
__________________________________________________________________________________
Professor and Director • School of Arts, Media and Engineering • Herberger Institute for Design and the Arts • Synthesis • ASU • +1-480-727-2846
Founding Director, Topological Media Lab / topologicalmedialab.net/ / skype: shaxinwei / +1-650-815-9962
__________________________________________________________________________________
Hey everyone,
bringing the wearable x-osc biometric prototype that Adrian built in Berkeley.
When? I don’t know. It will be up to the local host here at ASU to determine if and when John and Teoma can come. Ideally the host could be a combination of Dehlia, Chris Roberts, and Kristi … Or ?
Chris Ziegler will be busy with the lighting workshop — which I think should be scheduled for late October because that’s when Omar is available, and that gives us more time to prep for the ASU-wide event focused on AME and Synthesis, assisted by the Deans and OKED.
Xin Wei
PS Dehlia, Chris, Kristi. I’m going to start feeding you the research chatter for this OTHER and older stream of research at SYNTHESIS: movement, improvisation and responsive environments. This will expose cutting edge work on movement by very accomplished set of collaborators in TML Montreal, CNMAT Berkeley, USC Los Angeles, IRCAM Paris, and AME. There’s a lot to absorb. I suggest that you and everyone cc’ing chatter worth re-reading by mates in subsequent years in post@synthesis.posthaven.com
__________________________________________________________________________________
Professor and Director • School of Arts, Media and Engineering • Herberger Institute for Design and the Arts • Synthesis • ASU • +1-480-727-2846
Founding Director, Topological Media Lab / topologicalmedialab.net/ / skype: shaxinwei / +1-650-815-9962
__________________________________________________________________________________
Begin forwarded message:
From: Adrian Freed <adrian@adrianfreed.com>
Subject: wearable x-osc biometric prototype
Date: August 15, 2014 at 8:28:02 AM MST
To: Vangelis L <vangelis@lympouridis.gr>, Vangelis L <vl_artcode@yahoo.com>, marientina.gotsis@gmail.com, John MacCallum <john@cnmat.berkeley.edu>, Sha Xin Wei <shaxinwei@gmail.com>
John and Teoma may bring this box of goodies down to show you. It is a quick prototype for them to experiment with to help them figure out what they need for their IRCAM project. It has an x-OSC with imu, analog devices 2-lead EKG chip and inputs for a handmade respiration sensor based on EEonyx fabrics and an ear-clip pulse sensor (https://www.sparkfun.com/products/11574).
Obviously I would build something more substantial for regular use but this should suffice for building the signal processing and evaluating the sensors.
Incidentallally, Marientina it occurs to me that an ear lobe pulse sensor has a lot of potential for the large scale walking meditation experiments you discussed. It gives a muscle-noise free pulse signal and somebody must have created a BLE earring by now? Intel is building this kind of sensor into earbuds: http://www.sfgate.com/technology/article/50-Cent-Intel-team-on-heart-beat-headphones-5690650.php
Dear Chris, Omar,
In the responsive environments research area:
Let’s start gathering our notes into a Posthaven — for now use
Kristi can help summarize once a fortnight or so...
__________________________________________________________________________________
Professor and Director • School of Arts, Media and Engineering • Herberger Institute for Design and the Arts • Synthesis • ASU • +1-480-727-2146
Founding Director, Topological Media Lab / topologicalmedialab.net/ / skype: shaxinwei / +1-650-815-9962
__________________________________________________________________________________
cool. thanks. Adrian suggested last year a ready-to-wear IMU that went for ~ $200- $250. Can’t recall the make. Xin Wei
On Aug 22, 2014, at 7:11 PM, Vangelis Lympouridis <vl_artcode@yahoo.com> wrote:
That's great! Thanks a lot Adrian.
Vangelis Lympouridis, PhD Visiting Scholar, School of Cinematic Arts University of Southern California
Senior Research Consultant, Creative Media & Behavioral Health Center University of Southern California http://cmbhc.usc.edu
Whole Body Interaction Designer www.inter-axions.com
vangelis@lympouridis.gr Tel: +1 (415) 706-2638
-----Original Message----- From: Adrian Freed [mailto:adrian@cnmat.berkeley.edu] Sent: Friday, August 22, 2014 10:47 AM To: Xin Wei Sha; Vangelis L Cc: John MacCallum Subject: good comparison of IMU's and sensor fusion source
https://github.com/kriswiner/MPU-6050/wiki/Affordable-9-DoF-Sensor-Fusion