tag:einsteinsdreams.posthaven.com,2013:/posts Einsteins Deams 2016-07-08T12:41:44Z Xin Wei Sha tag:einsteinsdreams.posthaven.com,2013:Post/703648 2014-06-14T14:54:55Z 2014-06-14T14:54:55Z [Synthesis] background for "Einsteins Dreams" project
Dear Synthesis researchers -- TT + grads:

As we build the portal tools, we are laying instruments for second and third order experiments.  I’ll explain as we go, next week in live meeting.  For example: Einsteins Dream work on simultaneity and latency, and the experiential mutation of experienced topology of space-time.

Here’s the link to background work for the Einsteins Dreams research stream
http://topologicalmedialab.net/research/movement-and-gesture/media-choreography/einsteins-dream/

that Synthesis will carry forward in three settings:

• Marked, theatrical / artistic event  (e.g. iStage Blackbox, Beall Center UCI)
• Everyday space everyday, unmarked activity, (e.g. Brickyard commons and Stauffer office)
• Public spaces (eg, ASU Turrell sculpture, Santa Monica)

Xin Wei

PS Please cc. all thoughts, scrapbook notes re ED to post@einsteinsdreams.posthaven.com

PPS The apparatus could also be used in a very different set of embodied rehearsal-speculation with the climate modellers that Dehlia Hannah  & I would like to bring to Synthesis over the coming year.   e.g. Andrew Harding.

__________________________________________________________________________________
Professor and Director • School of Arts, Media and Engineering • Herberger Institute for Design and the Arts / Director • Synthesis / ASU
Founding Director, Topological Media Lab / topologicalmedialab.net/  /  skype: shaxinwei / +1-650-815-9962
__________________________________________________________________________________
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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/698007 2014-05-30T11:20:55Z 2014-05-30T11:20:55Z Einstein's Dreams : a series of experiments, exhibitions about temporality
Einstein's Dreams is a series of experiments, exhibitions about temporality: NOT “time” as an abstraction but the lived experience of change, dynamic, rhythm. of temporal texture (if that make sense).

Einstein's Dreams as a research stream dates back to about 2010 when choreographer/filmmaker Michael Montanaro and I discovered common inspiration in Alan Lightman’s novel.   The Topological Media Lab has mounted a series of installation-experiments over the past few years, most notably a set of Hexagram blackbox experiments in 2013, and a set of installations / actions in U Chicago’s Play Symposium .

There are rich background notes to this creation-research stream:
http://einsteinsdreams.posthaven.com
http://textures.posthaven.com

I propose we post emails about Einsteins Dreams to post@einsteinsdreams.posthaven.com

Please post more general or more theoretical and technical notes and links about textural approaches  to temporal experience, (change, dynamic, rhythm, etc.) to post@textures.posthaven.com


David — or Ed or Katie — can you flesh out the notes from our jam session?  I may not be able to do this while the memory is hot.

Time frame 2015 (- 2016)
Formats:
Sprint (yielding documents, diagrams, scores, recipes, maquettes)
Exhibition (LACMA, Yerba Buena)
Exhibition (Exploratorium)

Here are the snaps:

 

Cheers,
Xin Wei


__________________________________________________________________________________
Professor and Director • School of Arts, Media and Engineering • Herberger Institute for Design and the Arts / Director • Synthesis / ASU
Founding Director, Topological Media Lab / topologicalmedialab.net/  /  skype: shaxinwei / +1-650-815-9962
__________________________________________________________________________________
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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/641206 2014-01-13T05:25:27Z 2014-01-13T05:32:22Z Einsteins Dreams: An Ecological Approach to Media Choreography

There are some basic experimental presumptions that I'd like to try out in the Einsteins Dreams work.   There aren't many, but they go to the heart of research in how we compose the behavior of rich responsive environments.   The TML starts from where most of the world of interactive environments stops.  

One of those places is how events evolve.   The obvious ways include:  timeline (graph, cues), random (stochastic), decision tree (if-then).

But is this all there is?  Not in life nor in art.

This is where things were at up to the 1990's, well, even now if you ask most programmers and conventional time-based media artists.

I started designing responsive environments with a profoundly different approach to media choreography.  And that's been a core part of the TML's radically different way of making rich responsive environments that are more like ecologies.  This approach learns from continuous state evolution characteristic of tangible, physical, ecological systems.

Practically, how do we do this?  That's an open question.   The Topological Media Lab is for exploring open questions, rather than producing artwork reproducing convention.    And it is not the case that sprinkling some "AI" will save the day.   GIven that learning methods such as HMM, PCA, ICA, are all retrospective, (Bergson's critique of mechanism), and given that scores, scripts, clocks, and timelines cage action, we set them aside in favor of techniques that give us the maximum nuance, and potential for expressive invention over conditioned space.   The most powerful alternative we've only begun to exploit is the dynamical systems approach.   Rather than rehashing it, let me attach some references, like the "Theater Without Organs" essay (for artists, writers), and the more precise Ozone ACM Multimedia paper.

Most fundamentally, the ED project is to really push on these fronts:

• Move from time-line, random, or decision-tree logics that are typical of engineered environments to dynamical systems modeled on ecologies.  (See pages 16-19 of "Theater Without Organs.")

Acting & Articulating vs. Depicting or Allegory

The TML is about making environments that palpable condition experience in definite ways, not to display representations (pictures) or models of experience.   The radical experimental challenge of ED is about inducing rich experiences of dynamics, change, rhythm, not making an image (representation)  of some model of time.   The latter is merely allegory.  Easy.  The former is alchemically transmuted experience.  Hard.  Given enough skill, making representations is easy.   We built the TML, got the ED seed grant, and coordinated the temporality seminars these past 3 years to do something hard: inducing a different mode of temporality -- sense of temporal change. 

Rhythm ≠ Isochrony (regularly periodic)

There are no mathematically regular periods "in nature"  -- that's an artifact of delusions imposed by our models of mechanical time -- frozen in by computers.

Adrian Freed has a rich way of thinking about this, and a rich way of making things that reflect this.

No matter what "curves" you draw, if the pattern is repeated, then you have imposed an isochronous pattern.  So we've cheated life by pushing / pumping with an artificial "beat."  Instead, ED includes how pseudo-regularities emerge from the dynamical system.

Give up (geometric) time as a independent parameter 

Also since a few years ago, when people like Adrian and David Morris' students came on board, some people have taken up a challenge I put to radicalize our notion and use of "time"

Instead of using time as an independent parameter, in fact, instead of using any parameter as a "clock" driving the event,  use our sensors -- cameras and mics -- to pick up what is happening, and from the contingent action derive the changes of the responsive environment.

100 years ago Bergson insightfully criticized what he called the cinematic conceit of time / temporal experience.  (This is part of the point of the Ontogenesis group this past year with Magda, Will, Felix, Liza, Harry, Adrian, and myself.)  We don't need to fall back into those naiveties.

Even more fundamentally, let's be mindful of Maturana and Varela's profound observation that "time" is itself just a linguistic description rather than some thing in the stuff of our bodies and the stuff of the world:

Time as a Dimension

Any mode of behavioral distinction between otherwise equivalent interactions, in a domain that has to do with the states of the organism and not with the ambience features which define the interaction, gives rise to a referential dimension as a mode of conduct.  This is the case with time. It is sufficient that as a result of an interaction (defined by an ambience configuration) the nervous system should be modified with respect to the specific referential state (emotion of assuredness, for example) which the recurrence of the interaction (regardless of its nature) may generate for otherwise equivalent interactions to cause conducts which distinguish them in a dimension associated with their sequence, and, thus, give rise to a mode of behavior which constitutes the definition and characterization of this dimension.  Therefore, sequence as a dimension is defined in the domain of interactions of the organism, not in the operation of the nervous system as a closed neuronal network. Similarly, the behavioral distinction by the observer of sequential states in his recurrent states of nervous activity, as he recursively interacts with them, constitutes the generation of time as a dimension of the descriptive domain. Accordingly, time is a dimension in the domain of descriptions, not a feature of the ambience.  (H. Maturana & F. Varela, p 133. Autopoiesis and Cognition. See also Henri Bergson's example of the arcing arm, Creative Evolution, chap 1.)

Why not tug the sun as a controller rather than passively watch it sail out of reach!

As I said before, I think time is an effect not an "independent parameter."  This permits a more profound interpretation of Lightman's novel beyond its "time is…" syntax.

Functional relation ≠> Determinism

A curve f(t), eg f(t) = sin(t), can provide an utterly precise and reproducible result simply because it is a FUNCTION.  For example, f(t) could govern the height and intensity of the "sun" in the Blackbox. However f(t) need NOT be fed parameters t1, t2, t3 ... in a regularly incremented monotone sequence.  There just needs to be a (reversible) function in order to have reproducibility of the event when the action is reproduced.

There is a profound performative difference in live experience between a a fixed curve -- a graph which is traced from left to right in order, and a  f[t] = Sin[t] ready to be evaluated given any input.

In the example above, "t" is the INDEPENDENT parameter.  y = f(t) is the DEPENDENT  parameter.  In a realistic system, there is no reason to presume that the world runs on only one independent parameter.   (the "unidimensionality" fallacy)

Functions

There is no contradiction with the graphs that J drew.  In fact we use this in many places in Ozone code for 10 years in the form of Max function object (you draw the curve yourself).  Jerome could in fact use Morgan and Navid's function-clocks instead of re-inventing the wheel :).  But we called those abstractions "fake state" because we knew that they simply imposed a uni-dimensional sequence on the entire event.

Indeed we can write in any number of FUNCTIONAL, even REVERSIBLE (invertible) relations at the parameter level , yielding an arbitrary number of dimensions of deterministic relation between parameters,  I.e. optical flow and number of particles;  Color of input and wind (potential) force on fluid (MF : red => heat => flow up against gravity);  scratchiness of sound and brittleness of floor.   ALL of these can be functions of action, and even of each other.  That way, the human can do richly nuanced action, and even drive the action in a fully definite manner because the parameters are deterministically coupled to action.  But the relation is mapped from action in as many dimensions as the instruments can sense (either as raw or cooked sensor channels).

See Ozone documentation by Mani Thivierge on TML Private WIKI for precise description.   Since we are short on time,  I propose that composers read the Ozone document merely for the notation and the approach.   In this workshop, I propose we try only this notation "on paper" as a way of thinking about composing an event.   If the composers have time, they are welcome to write state engines, but that is not necessary this round.

COMPLEXITY vs RICH, COHERENT ACTION

We do not control complexity by imposing a small number of independent parameters.  In fact, as long as we can engineer functional relations, then the human and nonhuman agents can drive the event by ACTION.  Actions can be compact and coherent -- e.g. Everyone huddle together and stay huddled together in one place.  OR everyone huddle together but move about in a compact group around the floor.  Etc.  Even if this maps to multiple parameters there should be no need for us actors / inhabitants to think in terms of parameters as we act.

SCRIPTED CONTROL vs LIVE ACTION

There's a fundamental difference in attitude between code state as a trace of what's going on, vs. code as a driver of action.

There are at least three modes of agency: script (machine), human, and medium.  

(A) Clock drives event

For example, some software code animates a light simulating the sun rising in the course of a day.  The shadow of a pole shortens  lengthen as a function of clock-time.

(B) Human drives event

For example: human lifts a lantern.   Overhead Camera sees shadow of fixed pole shorten on the floor.   Code uses length of shadow to move an image of the sun...

A & B may look quite similar.  Downstream media code may even be identical, driven by OSC -- that is via a FUNCTIONAL, hence DETERMINISTIC dependence.  But the KEY difference is that A is driven by a clock, and B can be nuanced by LIVE action.   The actor can "scrub" through the event by moving his her arm up or down in any manner.    


• (C) MAKING A MEDIUM rather than a movie of a medium's particular action.

Nothing precludes programming a zone or instrument as a living medium with its own dynamics -- think of creating not a movie of a ripple spreading across the floor, but a whole sheet of "water" that ripples in response to any number of fingers or toes or stones doing any action in it.

• An embodied second order EVENT DESIGN METHOD

(inspired by Harrry Smoak, Matthew Warne's Thick/N 2004)

NOT as actual scenography, just as a design method: lay out several ZONES on the floor of the Blackbox, each with its own dynamics.    Then we can try walking from zone to zone in many different sequences, to get a feel for what transitions might feel like.  Imagine what players / inhabitants should be doing in order for the state of the event to change from zone A to zone B.  THEN we can design a state topology of those as POTENTIAL transitions, that actualize only when the inhabitants and the system actually act accordingly (as picked up by the sensors). 

(The Topological Media Lab's Ozone media choreography architecture as coded in Max / C already does this.)

REFERENCES

Henri Bergson, Creative Evolution, Dover 1998 (1907), Chapter 1: “The evolution of life – Mechanism and teleology”; Chapter 4: “The cinematographical mechanism of thought and the mechanistic illusion – A glance at the history of systems – Real becoming and false evolutionism.”

Broglio, Ron, “Thinking about stuff: Posthumanist phenomenology and cognition,” in Special Issue on Poetic and Speculative Architecture in Public Space, AI & Society 26.2, 2011, p. 187-192.

Humberto Maturana and Francisco Varela, Autopoiesis and Cognition: The Realization of the Living, Reidel 1980.

Maurice Merleau-Ponty, Phenomenology of Perception, tr. Donald Landes, Routledge 2012 (1945).

Sha Xin Wei, Michael Fortin, Tim Sutton, Navid Navab, “Ozone: Continuous state-based media choreography system for live performance,” ACM Multimedia 2010.

Sha Xin Wei, Poiesis and Enchantment in Topological Matter, MIT Press, forthcoming 2013. (Preface and Chapter 1).

_____, “Theater without organs” (2013),

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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/641205 2014-01-13T05:21:22Z 2016-07-08T12:41:44Z Einstein Dreams : Scenarios / Zones, Mechanics, Design approaches

(March 2013, updated for Synthesis Workshop February - March 2014, ASU)

SCENARIOS

Scatter / gather

Your shadow splits.  The shadows run way from you.  The shadows quiver with tension & intention.  

Follow spot lights you up.   Other spots lurk in the shadows, come after you with persona.

(Use Julian's rhythm abstractions to record corporeal/ analog movements, and playback.  Use analog rhythms as cheap way to get huge variety of very subtle NON-regularity to avoid dead mechanical beats.  Also can improvise.  )


Freeze

Deposit snapshots of yourself.  

Use "flash" timing :  charging increase in tension. Snap!  

Alternatively: NO tension, just fill zone with flashes.

Use MF VP8 to take webcam images and project them kaleidoscopically throughout zone, with time warp, delay, reversals.


Sutures

The world is fissured, and sutured:  as you walk you see/hear into discontiguous parts of the room.  

Portals!  Use MFortin's VP8,  + Jitter intermediation, eg timespace to introduce time dilation effects).


Motion, oil slick, molasses

Every action is weighted down, slooooooowwwweeedd asymptotically but never quite stilling.  Every action causes all the pieces of the world to slide as if on air hockey table, but powered so they accelerate like crazy :  Map room to TORUS so the imagery is always visible.   Use zeno-divide-in-half or any tunable asymptotic (Max expr object) to decellerate or accelerate.


Blur wind

Fray actions, images, sounds into noise 

(e.g. ye olde  jit.streak + feedback example )


Vortex, dizzy

Spin the world -- every linear movement or "line" of sound becomes drawn into a giant vortex, that sucks into the earth.   OR reverse.

Stepped video-strobe in the concentric rings, tunable by OSC + Midi sliders like everything. 


Brittle, crack

Need to step carefully.  If not, hear and see pending catastrophe: cracking ice underfoot ...

Or sometimes pure acoustic in darkness or whiteout strobe.

Use Navid’s adaptive scaler to shrink sensitivity down to smallest movement causing catastrophe in strobe + massive sound.   Use subs to add pre-preparatory sound like Earth grinding her teeth before breaking loose.


Stasis ( hot or cold )

Sitting in the bowl of the desert (Sahara  or Himalayas )

No-time sonic and field.  Noise-field, snow blindness video (black or white majority), or BillViola ultra-slow-mo?  (better than 25-1 speed reduction, with no motion-blur)?

Use heat lamps or fans, to subtly add heat or cold ?



Repetition

Visual -- take video from a given location, but send to multiple locations (using VP8 + repeated stills) or map to OpenGL polygons...

Audio -- use OMAX, with coarse grain


Infection / Dark Light

Use video, e.g. use particles -- thickened as necessary -- as sources of light.  Cluster around movement or around bodies presence as source of light. 


MECHANICS

IMPORTANT OZONE ARCHITECTURE (Julian with MF, working with Navid, Jerome, Omar’s instruments): Each of your instruments should expose key parameters to be tunable by OSC + Midi sliders, so someone OTHER than programmer can play with the instruments qualitatively.  OSC gives access to handheld MF’s Max/iOS client so we can walk around IN the space under the effects and vary the instruments IN SITU, LIVE.


ALSO: Crucial that any TML experimentalist can walk in with her / his laptop, tap into the video feed, and emit her own video into the projectors, and control where her video shows up, an with what alpha blend.   S/he must be able to do this without Jerome babysitting on call 24 x 7.


Ditto sound & lighting & OSC feed -- Julian’s got good design for this.  Navid for sensor channels.   I hope the sensor channels work transparently on top of Julian’s OSC resource discovery code.

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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342781 2011-09-08T05:58:00Z 2013-10-08T16:34:56Z Berlinengineer Sara Reichert für EinsteinsTraum
"Sara Reichert" <sarareichert@web.de>

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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342805 2011-06-21T10:27:49Z 2013-10-08T16:34:56Z Peter Funch, Babel Tales, composite photographs of New York
We should try compositing time, also in video.

http://flavorwire.com/188589/amazing-composite-street-photographs-of-new-york-city

Amazing Composite Street Photographs of New York City
1:30 pm Monday Jun 20, 2011 by Marina Galperina

For every one of his fantastic shots, photographer Peter Funch stakes out a busy New York City street corner, capturing hundreds of moments over the course of several weeks from the same spot. Then, he digitally combines real scenes into one surreal super scene. Suddenly, all the people who passed him while dressed in black re-appear simultaneously. Every single person in Times Square is a picture-snapping tourist. Everyone on a Lower East Side street has a little dog. Everyone is yawning. Everyone has balloons. The happenings in his “fictional documentary” series Babel Tales aren’t lies, they’re truths exaggerated. Enjoy the views in our gallery.

Peter Funch, Babel Tales, composite photographs of New York
http://www.peterfunch.com/index.php?/ongoing/babel-tales/

Also make a video that filters through only pixels with particular speed in optical flow.
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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342809 2011-06-03T09:48:42Z 2013-10-08T16:34:56Z necessary, but not sufficient (was: Here is the show I saw with 3D mapping - Must see!)
It's impressive -- we want to own that sort of functionality!  I don't see any rocket science in their tech, which is great, so it would be straightforward to assemble the same solution ourselves.  Perhaps this can be accomplished with much less budget: they seem to be assembling a lot of different design shops  to do what could be assembled by one well-trained engineering team.    

I'm curious how it feels live.  In terms of effect, after a while, it (and all these other building projections ) seems kind of boring bc it's just mapping textures to walls -- very screeny.  (Notice that the interviews show the graphic designers working on screens, rather than painting/beaming with handhelds  directly on , and walking around their mock-up models.)

I saw no compositional, dramatic development in the first half of the video.  ("Dramatic" can be non-anthropocentric, in our work.)

What MM's doing with what I'm calling the "building character" approach to building-scale events will be very interesting, I think, because it will actually give character to buildings and breathe relationships into them and their "actions".  So there's a extra layer of meaning, magic, breath-taking as-if-accident that will emerge.  All the practice of staging, blocking, action, choreography, composition, extended from the  anthropocentric to the scale of buildings, will be really powerful.

Let me remind us of a practical goal that I've been urging for ten years: let's get away from screen-centric design!!!   For example, we could make mock-up panels out of foamcore + fiducials (for auto-tracking by DL2's) and walk with them / move them by hand to rapidly prototype effect of shifting perspectives as function of movement of visitor and of physical architecture.   We can take the RP 3D "prints" and light them with real light, and walk around them with our little mitsubishi's (or even jury rig our own small pen-cameras and pen-projectors, (and ears), and puppets!    

We should schedule some workshops with Mark Sussman now, for when?  

Thanks for the conversation-provoking example :)
Let's post lots more examples to post@alkemie.posterous.com !

Xin Wei

On 2011-06-02, at 11:32 PM, Jérôme Delapierre wrote:

Cheers,

Jérôme Delapierre
www.delapierrejerome.weebly.com
Photography / Graphic & webdesign / Video / Interactive design
Cell : 5147467818
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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342822 2011-04-01T11:09:59Z 2013-10-08T16:34:56Z Ozone Scrum meeting Wednesday March 30
Scrum meeting:
Wednesday March 30,  13:30- 14:15, TML
Morgan, XW, Navid, Tyr

Sprint: Lighting, chemistry, connect sound

1. Finish multispecies particles to support chemistry.
2. Map Kinect via  Externals + Jitter to lighting
3. Map particle data to Sound micro-sates

Previous notes ☞  
http://topological.posterous.com/
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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342839 2011-04-01T10:41:44Z 2013-10-08T16:34:56Z Scrum meeting, Wednesday March 23 Scrum meeting to refine sprint: M Fortin’s Kinect externals
Wednesday March 23,  13:30- 14:15, TML
Morgan, Jerome, Navid, Tyr, XW
Previous notes ☞  http://topological.posterous.com/
Morgan will chair.  Scrummed by Michael F.]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342848 2010-12-15T02:58:03Z 2013-10-08T16:34:56Z Ozone & Einsteins Dream workshops in 2011 Here is my current list of potential and proposed opportunities to do workshops related to Ozone & Einsteins Dream in 2011.
Some are fundable.
I will be working on funding these...depending on who can accomplish what.

March (during intersession break) UC Berkeley
1 or 2 members of Ozone team demo Lisa Wymore's lab
Meyer Sound work

March 5 - April 30 Bain St Michel, Montreal

April 15-23 Berkeley Dance Productions 8, Berkeley
  Workshop in Lisa Wymore's lab ?
Maybe only media techniques

May 1-8 Hexagram, Montreal ??
Michael Montanaro & visitors Lisa Wymore (UC Berkeley) and Sheldon Smith (Mills College) ?

August 1-10 Hawaii
SECT Seminar in Experimental Critical Theory
technoscientific knowledge production and urban experience in Asia

Xin Wei

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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342863 2010-10-13T11:42:27Z 2013-10-08T16:34:57Z dream spaces
http://www.monumenta.com/2010/monumenta/Monumenta-2010-en-images.html

and 

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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342880 2010-10-10T17:21:10Z 2013-10-08T16:34:57Z Einsteins Dreams SSHRC Research Creation supporting material needed
We should use some of the Frankenstein work since it shows our work as a team. 

take care
m

On 2010-10-09, at 7:56 PM, "Sha Xin Wei" <shaxinwei@gmail.com> wrote:

Hi Michael, Harry, Jerome, Navid,

The SSHRC does need supporting material for the RC grant.  So please do post links to your videos / sound that we can sift together into a portfolio.   Can you get your samples to me by end of this week?
Ideally morning THURSDAY Oct 14, so we can sift through it in the TML.

Self-contained video files of 2-3 minutes could be useful.  Audio narration could be ok but I think it would be better to supply sufficiently extended captions to explain significance and relevance to ED.  I think we should pick Option 1, up to 3 excerpts. Of course Frankensteins Ghosts would be great.  Some non-allegorical, non-representationalist, and striking ambience conditioning would be great.

I cc Saulo and Lina as readers and potential editors of the SSHRC package.  We need someone to step up to do the final assembly.  Michael and I can pay for this time.

Cheers,
Xin Wei

From: Lyse Larose <Lyse.Larose@concordia.ca>
Date: October 9, 2010 10:57:38 AM EDT
To: Sha Xin Wei <shaxinwei@gmail.com>, Michael Montanaro <mgm@alcor.concordia.ca>
Subject: Re: Einsteins Dreams SSHRC Research Creation in capsule

Hi Xin Wei:  Thanks for keeping me in the loop. Are you and Michael co-applicants?  

[yes it's already in the SSHRC online]

I’m looking forward to your grant.  As for support material, yes, it’s required.  The specs for it are below.  Perhaps you could designate someone on the team to be charge of getting it together and in the format they require?  

Support Material (SSHRC RC)

List  any samples of work you are submitting to illustrate your qualifications as an  applicant or as a team and/or to illustrate the nature of your proposed  research/creation. The instructions below explain exactly how you must present  the support material.

  Samples will be sent to  external reviewers in the eventuality that external reviewers are requested by  the adjudication committee. However, due to technical challenges SSHRC cannot  guarantee that the samples will be viewed.

   The  adjudication committee will normally have very limited time per application to  view, read or listen to samples of work provided. It is important, therefore,  for applicants to present their material in the most effective manner: indicate  clearly the order in which the material should be viewed by the committee and,  where possible, present all of your material on a single CD, videotape, etc., edited  in viewing priority. Note: Wherever feasible, written material (e.g.,  creative writing samples) will be sent to the adjudication committee for  reading before the adjudication meeting.

   Choose  one of the following arrangements:

 
  • provide       up to 3 works or 3 excerpts of works on videotape (VHS or SVHS), audio       cassette, DVD, DAT, CD or CD-ROM. Note: Select the medium you feel best       captures the work of you or your team;
  • provide       up to 20 slides;
  • provide       up to 3 excerpts of written material (overall maximum of 15 pages) drawn       from a book or books, a manuscript, a catalogue, etc. (you may specify       certain pages within publications that cannot effectively be photocopied).

Note: Any other samples or combinations of samples must be pre-approved by the  program officer. Samples exceeding the stated types or limits without  pre-approval will not be shown to the committee.

Note: A specifications guideline for the multimedia platform and new media formats is  available upon request.

  Presentation  of samples

 
  • Labeling: Clearly       label your support material.
  • Viewing       order: List the material in order of suggested viewing       priority.
  • Link to       assessment: Explain briefly how the material supports       assessment of your application - both your proposed program of       research/creation and your (or your team's) record of accomplishment.
  • For       videotapes, films, audio cassettes, CDs, DATs, CD-ROMs: Identify (1) the title of the piece/work; (2) the role of the applicant(s)       or team member(s); (3) the medium; (4) the duration of the piece; (5) the year       of production/creation; (6) which part of the material is to be presented       to the committee; and (7) any special instructions or notes for viewing.
  • For       slides: For each slide, identify (1) the title of the       work; (2) the role of the applicant(s) or team member(s); (3) the date of       creation/production; (4) the medium; and (5) the dimensions of the work       (where applicable).
  • For       print material: Label material with your name and identify (1)       the title of the work or publication; (2) the role of the applicant or       team member; and (3) the year of publication/production.

No. of Copies:  Include at least  one copy of the samples with your application.

  Return of material: A postage-paid and self-addressed envelope or box should be made  available if you would like the the samples of work returned. Any samples of  work not re-claimed in this way will be disposed of by SSHRC once the  competition cycle has been completed.


Best,


Lyse


On 10-10-09 9:49 AM, "Sha Xin Wei" <shaxinwei@gmail.com> wrote:

Hi Lyse,

Michael Montanaro and I have been working over the past months on Einsteins Dreams for the SSHRC Research Creation competition due Nov 5.

Here's our timetable and basics.

TIMETABLE:
Monday Oct 11, end of day:
        Done Draft treatment
        Fill in SSHRC template

Saturday - Sunday Oct 16-17
        Everyone : Meet to work in MM cottage

Monday Oct 18
        Deliver to Office of Research

Production Team:
        Sha Xin Wei: concept, technical
        Michael Montanaro: concept, movement
        Jerome Delapierre: video
        Navid Navab: sound
        Harry Smoak: lighting
        Paul Ahad: mechanical / stage design

Support Team:
        Lina Dib: Research -- time and memory, cultural studies of science and technologies of time.
        Saulo Madrid, JC Nesci: Communications, print documentation
        (Jhave Johnston): Communications, media documentation
        (Katie Jung), Project administration


2010-2011 (Year 0)
Workshops
        Discussion of temporal experience, temporal consciousness, rhythm, memory
        Movement workshops: TML @ Bain St Michel Montreal (March / April 2011), Berkeley (April 2011)


2011-2012 (Year 1)
Workshops
        Discussion of temporal experience, temporal consciousness, rhythm, memory
        Movement workshops: Hexagram Concordia, Berkeley Wymore movement lab, New York (), Paris (le cube)

2012-2013 (Year 2)
London, Dana Centre, Tate,

2013-2014 (Year 3)
Paris, Berlin?
Montreal: Gas Works, Hangar Old Port, old Cirque Eloise

It'll be for the max allowable $ amount.

I've put in a placeholder on the SSHRC website.  Need to change the title etc.

We have idea, timeline, team, allies, etc. sketched, and are now assembling,   Although the SSHRC RC does not take portfolio (right?), we plan to poset a video / presentation on the web.

Cheers,
Xin Wei



Lyse Larose, BFA, M.Sc.A.
Facilitator
Research, International Relations and Graduate Studies
F a c u l t y   o f    F I n e   A r t s

Concordia University
Office of the Dean, Fine Arts
1455 ouest blvd de Maisonneuve,
Room EV 2.736, MTL, QC H3G 1M8

Office:     514-848-2424 x5632
Fax:          514-848-4599
Email:      lyse.larose@concordia.ca


]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342905 2010-10-09T23:56:05Z 2013-10-08T16:34:57Z Einsteins Dreams SSHRC Research Creation supporting material needed
Hi Michael, Harry, Jerome, Navid,

The SSHRC does need supporting material for the RC grant.  So please do post links to your videos / sound that we can sift together into a portfolio.   Can you get your samples to me by end of this week?
Ideally morning THURSDAY Oct 14, so we can sift through it in the TML.

Self-contained video files of 2-3 minutes could be useful.  Audio narration could be ok but I think it would be better to supply sufficiently extended captions to explain significance and relevance to ED.  I think we should pick Option 1, up to 3 excerpts. Of course Frankensteins Ghosts would be great.  Some non-allegorical, non-representationalist, and striking ambience conditioning would be great.

I cc Saulo and Lina as readers and potential editors of the SSHRC package.  We need someone to step up to do the final assembly.  Michael and I can pay for this time.

Cheers,
Xin Wei

From: Lyse Larose <Lyse.Larose@concordia.ca>
Date: October 9, 2010 10:57:38 AM EDT
To: Sha Xin Wei <shaxinwei@gmail.com>, Michael Montanaro <mgm@alcor.concordia.ca>
Subject: Re: Einsteins Dreams SSHRC Research Creation in capsule

Hi Xin Wei:  Thanks for keeping me in the loop. Are you and Michael co-applicants?  

[yes it's already in the SSHRC online]

I’m looking forward to your grant.  As for support material, yes, it’s required.  The specs for it are below.  Perhaps you could designate someone on the team to be charge of getting it together and in the format they require?  

Support Material (SSHRC RC)

List  any samples of work you are submitting to illustrate your qualifications as an  applicant or as a team and/or to illustrate the nature of your proposed  research/creation. The instructions below explain exactly how you must present  the support material.

  Samples will be sent to  external reviewers in the eventuality that external reviewers are requested by  the adjudication committee. However, due to technical challenges SSHRC cannot  guarantee that the samples will be viewed.

   The  adjudication committee will normally have very limited time per application to  view, read or listen to samples of work provided. It is important, therefore,  for applicants to present their material in the most effective manner: indicate  clearly the order in which the material should be viewed by the committee and,  where possible, present all of your material on a single CD, videotape, etc., edited  in viewing priority. Note: Wherever feasible, written material (e.g.,  creative writing samples) will be sent to the adjudication committee for  reading before the adjudication meeting.

   Choose  one of the following arrangements:

 
  • provide       up to 3 works or 3 excerpts of works on videotape (VHS or SVHS), audio       cassette, DVD, DAT, CD or CD-ROM. Note: Select the medium you feel best       captures the work of you or your team;
  • provide       up to 20 slides;
  • provide       up to 3 excerpts of written material (overall maximum of 15 pages) drawn       from a book or books, a manuscript, a catalogue, etc. (you may specify       certain pages within publications that cannot effectively be photocopied).

Note: Any other samples or combinations of samples must be pre-approved by the  program officer. Samples exceeding the stated types or limits without  pre-approval will not be shown to the committee.

Note: A specifications guideline for the multimedia platform and new media formats is  available upon request.

  Presentation  of samples

 
  • Labeling: Clearly       label your support material.
  • Viewing       order: List the material in order of suggested viewing       priority.
  • Link to       assessment: Explain briefly how the material supports       assessment of your application - both your proposed program of       research/creation and your (or your team's) record of accomplishment.
  • For       videotapes, films, audio cassettes, CDs, DATs, CD-ROMs: Identify (1) the title of the piece/work; (2) the role of the applicant(s)       or team member(s); (3) the medium; (4) the duration of the piece; (5) the year       of production/creation; (6) which part of the material is to be presented       to the committee; and (7) any special instructions or notes for viewing.
  • For       slides: For each slide, identify (1) the title of the       work; (2) the role of the applicant(s) or team member(s); (3) the date of       creation/production; (4) the medium; and (5) the dimensions of the work       (where applicable).
  • For       print material: Label material with your name and identify (1)       the title of the work or publication; (2) the role of the applicant or       team member; and (3) the year of publication/production.

No. of Copies:  Include at least  one copy of the samples with your application.

  Return of material: A postage-paid and self-addressed envelope or box should be made  available if you would like the the samples of work returned. Any samples of  work not re-claimed in this way will be disposed of by SSHRC once the  competition cycle has been completed.


Best,


Lyse


On 10-10-09 9:49 AM, "Sha Xin Wei" <shaxinwei@gmail.com> wrote:

Hi Lyse,

Michael Montanaro and I have been working over the past months on Einsteins Dreams for the SSHRC Research Creation competition due Nov 5.

Here's our timetable and basics.

TIMETABLE:
Monday Oct 11, end of day:
        Done Draft treatment
        Fill in SSHRC template

Saturday - Sunday Oct 16-17
        Everyone : Meet to work in MM cottage

Monday Oct 18
        Deliver to Office of Research

Production Team:
        Sha Xin Wei: concept, technical
        Michael Montanaro: concept, movement
        Jerome Delapierre: video
        Navid Navab: sound
        Harry Smoak: lighting
        Paul Ahad: mechanical / stage design

Support Team:
        Lina Dib: Research -- time and memory, cultural studies of science and technologies of time.
        Saulo Madrid, JC Nesci: Communications, print documentation
        (Jhave Johnston): Communications, media documentation
        (Katie Jung), Project administration


2010-2011 (Year 0)
Workshops
        Discussion of temporal experience, temporal consciousness, rhythm, memory
        Movement workshops: TML @ Bain St Michel Montreal (March / April 2011), Berkeley (April 2011)


2011-2012 (Year 1)
Workshops
        Discussion of temporal experience, temporal consciousness, rhythm, memory
        Movement workshops: Hexagram Concordia, Berkeley Wymore movement lab, New York (), Paris (le cube)

2012-2013 (Year 2)
London, Dana Centre, Tate,

2013-2014 (Year 3)
Paris, Berlin?
Montreal: Gas Works, Hangar Old Port, old Cirque Eloise

It'll be for the max allowable $ amount.

I've put in a placeholder on the SSHRC website.  Need to change the title etc.

We have idea, timeline, team, allies, etc. sketched, and are now assembling,   Although the SSHRC RC does not take portfolio (right?), we plan to poset a video / presentation on the web.

Cheers,
Xin Wei



Lyse Larose, BFA, M.Sc.A.
Facilitator
Research, International Relations and Graduate Studies
F a c u l t y   o f    F I n e   A r t s

Concordia University
Office of the Dean, Fine Arts
1455 ouest blvd de Maisonneuve,
Room EV 2.736, MTL, QC H3G 1M8

Office:     514-848-2424 x5632
Fax:          514-848-4599
Email:      lyse.larose@concordia.ca
]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342916 2010-10-09T13:51:00Z 2016-07-08T12:28:20Z Einsteins Dreams notes from Friday
(Hi Lina, We went through the discussion like fire.  But I didn't use my Mac till 2!  Can we catch up today?

The template I filled in does not match the SSHRC creation research grant format.  For that we need to use the pdf I found later:


)


TIMETABLE:
Monday Oct 11, end of day:
Done Draft treatment
Fill in SSHRC template 

Saturday - Sunday Oct 16-17
Everyone : Meet to work in MM cottage

Monday Oct 18
Deliver to Office of Research

Production Team:
Sha Xin Wei: concept, technical
Michael Montanaro: concept, movement
Jerome Delapierre: video
Navid Navab: sound
Harry Smoak: lighting
Paul Ahad: mechanical / stage design

Support Team:
Lina Dib: Research -- time and memory, cultural studies of science and technologies of time.
Saulo Madrid, JC Nesci: Communications, print documentation
(Jhave Johnston): Communications, media documentation
(Katie Jung), Project administration


2010-2011 (Year 0)
Workshops
Discussion of temporal experience, temporal consciousness, rhythm, memory
Movement workshops: TML @ Bain St Michel Montreal (March / April 2011), Berkeley (April 2011)


2011-2012 (Year 1)
Workshops
Discussion of temporal experience, temporal consciousness, rhythm, memory
Movement workshops: Hexagram Concordia, Berkeley Wymore movement lab, New York (), Paris (le cube)

2012-2013 (Year 2)
London, Dana Centre, Tate, 

2013-2014 (Year 3)
Paris, Berlin?
Montreal: Gas Works, Hangar Old Port, old Cirque Eloise


TODO's

Describe some overall scenario (Michael)
Describe the time angle / social significance, connection with research discourse. (Xin Wei)

Letters of support
London (XW)
Paris (Saulo, XW)
Engineering: Meyer, Christie, Phantom, Vicon (XW via Jeremy?)
Cirque, Solotech, C3 Events, Roberts Film (Michael?)
Individuals?? (XW)

Portfolio
SSHRC does not take portfolio, but please send links to brief videos (2 mins?)  that we can incorporate into a single video doc,
and put up on the web.

Jen will write up a TML blurb soon.
]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342940 2010-10-08T17:58:00Z 2013-10-08T16:34:58Z Time as a Dimension

From "Autopoesis and Cognition" by Varela. Pg. 133 

]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342947 2010-10-08T17:11:00Z 2013-10-08T16:34:58Z new media as behavior

just started reading:

Graham, Beryl and Cook, Sarah, Rethinking Curating: Art after New Media, MIT Press, Cambridge, 2010, 354p.

a few notes on what matters (beyond the technology):


Following Graham and Cook, here "i define so-called new media as a set of behaviors, not as a medium" (xiv, forward by Dietz)

"At one time, the new media of photography both changed the aesthetic understanding of painting and participated in the creation of a cultural understanding of (fixed) time and representation. At another time, the new media of video changed the aesthetic understanding of film while participating with television in the creation of a cultural understanding of (real) time and distance. The art most recently known as "new media" changes our understanding of the behaviors of contemporary art precisely because of its participation in the creation of a cultural understanding of computational interactivity and networked participation. In other words, art is different after new media because of new media ? not because new media is "next," but because its behaviors are the behaviors of our technological times." (xiv, Dietz)

lina

 

]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342966 2010-10-07T19:40:06Z 2013-10-08T16:34:58Z Einsteins Dreams SSHRC creation research. Friday Oct 8, 12:30 - 2:30, in TML If there is any text I can review ahead of the meeting tomorrow, please forward.

Thanks!

Harry


On 2010-09-29, at 11:33 PM, Sha Xin Wei wrote:

OK let's meet

12:30 - 2:30
TML

This way Navid can come for an hour.
Harry can overlap at end at 2 (and can continue with me for an hour)

I will work with Michael to try to circulate some text prior.
Xin Wei


On 2010-09-28, at 9:50 AM, Sha Xin Wei wrote:

> Hi,
>
> Just to let you know that we've had an http://einsteinsdreams.posterous.com   blog for a while.
>
> Now with added energy, fresh ingredients yet to be blogged, and thanks to a model from one of Chris's successful SSHRC proposals, I think we can make a push on the proposal.   I have a template filled in with a lot of blah-blah filler.  What we would need are:
>
> (1)   Info about MM and SXW as leaders.
> (2)   How students would be involved.
> (3)   Sexy account of the time-machine concept.  (See blog, later.)
> (4)   How this benefits people in everyday life, society.
> (5)   Budet justification.
>
> I'll send Michael the template filled in.  We'll need to meet soon in the coming week.  Harry's in RPI for the installation / performance.  But we can meet once soon, and again after Oct 4, ok?
>
> More anon,
> Xin Wei
>
______________________________________________________________________________
Sha Xin Wei, Ph.D.
Canada Research Chair • Associate Professor • Design and Computation Arts • Concordia University
Director, Topological Media Lab • topologicalmedialab.net/  •  http://flavors.me/shaxinwei
______________________________________________________________________________



]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342968 2010-10-06T13:31:56Z 2013-10-08T16:34:58Z ED venues production
Gas Works, Griffontown Montreal 2012
Tate Modern 2012-2013
Paris 2013

workshops
Bain St Michel, Montreal March April 2011
UC Berkeley Lisa Wymore (Nov pre-workshop), April 2011
Dana Centre 2012
NYC ?
LA Redcat?]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342987 2010-09-30T03:33:45Z 2013-10-08T16:34:58Z Einsteins Dreams SSHRC creation research. Friday Oct 8, 12:30 - 2:30, in TML OK let's meet

12:30 - 2:30
TML

This way Navid can come for an hour.
Harry can overlap at end at 2 (and can continue with me for an hour)

I will work with Michael to try to circulate some text prior.
Xin Wei


On 2010-09-28, at 9:50 AM, Sha Xin Wei wrote:

> Hi,
>
> Just to let you know that we've had an http://einsteinsdreams.posterous.com   blog for a while.
>
> Now with added energy, fresh ingredients yet to be blogged, and thanks to a model from one of Chris's successful SSHRC proposals, I think we can make a push on the proposal.   I have a template filled in with a lot of blah-blah filler.  What we would need are:
>
> (1)   Info about MM and SXW as leaders.
> (2)   How students would be involved.
> (3)   Sexy account of the time-machine concept.  (See blog, later.)
> (4)   How this benefits people in everyday life, society.
> (5)   Budet justification.
>
> I'll send Michael the template filled in.  We'll need to meet soon in the coming week.  Harry's in RPI for the installation / performance.  But we can meet once soon, and again after Oct 4, ok?
>
> More anon,
> Xin Wei
>
______________________________________________________________________________
Sha Xin Wei, Ph.D.
Canada Research Chair • Associate Professor • Design and Computation Arts • Concordia University
Director, Topological Media Lab • topologicalmedialab.net/  •  http://flavors.me/shaxinwei
______________________________________________________________________________


]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/343006 2010-07-16T21:56:13Z 2013-10-08T16:34:59Z Call for proposals for the Banff International Research Station 2012
Begin forwarded message:

From: BIRS Scientific Director <birs-director@birs.ca>
Date: July 14, 2010 5:37:35 PM PDT
To: sha@encs.concordia.ca
Subject: Call for proposals for the Banff International Research Station 2012

La version française suit ci-dessous.

The Banff International Research Station for Mathematical Innovation and Discovery (BIRS) is now accepting proposals for its 2012 program. The Station provides an environment for creative interaction and the exchange of ideas, knowledge, and methods within the mathematical, statistical, and computing sciences, and with related disciplines and industrial sectors.

Full information, guidelines, and online forms are available at the new BIRS website:
http://www.birs.ca/

BIRS is hosting a 49-week scientific program in 2012.  Each week, the station will be running either a full workshop (42 people for 5 days) or two half-workshops (each with 21 people for 5 days). As usual, BIRS provides full accommodation, board, and research facilities at no cost to the invited participants, in a setting conducive to research and collaboration.

The deadline for 5-day Workshop and Summer School proposals is September 27, 2010.

In addition BIRS will operate its Research in Teams and Focused Research Groups programs, which allow smaller groups of researchers to get together for several weeks of uninterrupted work at the station. September 27, 2010 is also the preferred date to apply for these programs. However, proposals for projects involving Research in Teams or Focused Research Groups can be submitted at any time -- subject to availability-- they must be received at least 4 months before their requested start date.

Proposal submissions should be made using the online submission form.
Please use:
https://www.birs.ca/proposals


Nassif Ghoussoub
Scientific Director, Banff International Research Station

**********

La station internationale de recherche en sciences mathématiques de Banff (BIRS) lance un appel à projets pour son programme de l’année 2012.  La mission de BIRS est de mettre à la disposition de la communauté scientifique internationale un environnement de recherche qui favorise les interactions et les échanges d'idées et de connaissances entre les membres des communautés mathématiques, statistiques, informatiques ainsi que leurs applications dans les sciences et dans le secteur industriel.

Des informations complètes ainsi que les formulaires à remplir en ligne sont disponibles sur le site Internet http://www.birs.ca/

Le programme scientifique de BIRS pour l'année 2012 sera composé de 49 semaines, chaque semaine consistant soit d'un atelier standard (42 personnes pour 5 jours) soit de deux demi- ateliers (21 personnes pour 5 jours).  BIRS fournit aux participants invités l’infrastructure de recherche appropriée, ainsi que le logement et les repas dans un cadre convivial, propice aux échanges d’idées et aux collaborations scientifiques.

La date limite de pot des dossiers pour les ateliers et les écoles d'été est fixée au 27 septembre 2010.

De plus, BIRS continue de mener ses programmes de Recherche en Equipes (RIT) et de Groupes de Recherche (FRG), qui permettent à des équipes de chercheurs de se retrouver dans la station pour plusieurs semaines pour mener à bien un projet de recherche en collaboration.  Les dossiers de demandes pour ces programmes doivent -de préférence- être déposés aussi avant le 27 septembre 2010.  Cependant, les dossiers concernant ces deux derniers programmes (FRG et RIT) seront également acceptés à tout autre moment à condition qu’ils soient soumis au moins 4 mois avant la date à laquelle le projet est supposé débuter.

Les dossiers de candidature doivent être soumis sur Internet à l'adresse suivante:
https://www.birs.ca/proposals

Nassif Ghoussoub
Directeur, Banff International Research Station

_______________________________________________
To remove sha@encs.concordia.ca from this mail list, visit:
https://www.birs.ca/unsubscribe/announcements/sha@encs.concordia.ca
]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/343039 2010-06-23T11:38:51Z 2013-10-08T16:34:59Z Some Ingredients for Einstein's Dreams
Just scattered notes from the plane (notes scattered from the plane?), for an Einsteins Dreams chat with Lina Thursday :)

Artistic Research  R&D
Alan Lightman novel 
Time consciousness (Sha + David Morris Memory)

Workshops
TML / Lenka Novakova / Laura Emelianoff, Bain St Michel residency, 
public responsive space exhibition, 2-3 months April - May 2011
Michael M, Xin Wei
teams from FG and Ozone
TML /Hexagram: Temporal textures (Harry, Pat, Ozone)
Installation+Movement (summer 2011?)
Satinder Gill, Anglia-Ruskin University, movement + sound lab
(Tim, Richard composers; Jane choreographer)
Prosody (Gill Cambridge )

Production Venues
TML, Montreal
RedCat, LA
Eyebeam, NYC

Symposium Venues
Banff Math Institute  (R Mazzeo), New Media Institute, Banff Performing Arts
UC Berkeley, Dance and Tech May 2011, Wymore
classes: Wymore, de Kosnik
AI Society, July / August 2012: Cambridge University, session on time consciousness (not time)

Exhibit Venues
Dana Centre, Sep 2012
Berkeley / SF 
Tate Modern, June 2013 
Eyebeam, NYC

Foundation support
SSHRC
Image Text Sound ?
CCA / NSERC New Media April 2011?
FQRSC
USA
study of time consciousness?

Prior Research & Art
Ouija
Frankensteins Ghosts
ILYA
Montanaro portfolio
Temporal textures (FQRSC)
Memory-Identity-Place (with David Morris, philosophy)

Collaborators, Advisors
Linnaea Tillett Lighting Design
Prof. Peter Galison, Harvard, History of Science
]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/343075 2010-06-10T00:48:39Z 2013-10-08T16:34:59Z Einsteins Dreams: primordial readings on time consciousness ? Dear Einsteins Dreamers,

As background for the Einsteins Dreams project, first off, let's replace "perception of time" by time consciousness. There is an enormous literature on time of course, but let me suggest some passages to orient a starting place that's suitably elastic and avoids the rampant cognitivism:

Heidegger, Metaphysical Foundations of Logic
In the second part, there is a particularly clear exposition of the triadic structure of time consciousness, which is also discussed by Husserl.

Husserl, The Pheomenology of Time Consciousness.
I am not sufficiently familiar with this text to suggest any one section, so feel that I should read the entire book. But Id want company for that :) The one paragraph from the appendix to Maturana and Varela, Autopoeisis and Cognition:
"Time as a dimension" I'd like to understand this incredibly lucid passage clearly with you, because I think it clears an enormous ground for understanding time(s) as an effect. That's one of my pet hypotheses :)

This all could be discussed quite efficiently by hanging out with some of our friendly neighborhood philosophers -- David Morris and the Memory Place Identity group. Perhaps ED could meet with them?

Hab keine angst, very rapidly we will need to generate concrete funding proposals, so very very rapidly we will need to create some sketches or at least some scenarios. Cheers,
Xin Wei]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/343097 2010-03-18T15:21:00Z 2013-10-08T16:35:00Z Einsteins Dreams: raw work plan
5 The integrated work plan for the research and/or production activities
5.1 studies -- specific techniques
bench
person scale
site scale
5.2 rehearsals -- putting it together
blackbox theatre
mock up on-site
rehearsals on-site
5.3 checkpoints and R&D
initial blackbox scratch, bring creators together
bench studies
mock-up on site
large feature redesign
bench studies
sub-contracted work
rehearsal 1.1 in blackbox and rehearsal 1.2 on-site
fine feature redesign
rehearsal 2
optimization
•  production
WHERE will it be done? ?
Berkeley, Pacific Film Archive 2011 ?
Montreal Usine-C
Tate Modern 2011
Harvard Biochem building (Galison)
Under Brooklyn Bridge
San Francisco Presidio
]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/343126 2010-03-15T07:31:00Z 2013-10-08T16:35:00Z fresh start, raw outline

This is a raw outline for a fresh start, based on Michael's notes for the CCA-NSERC  new media program last year.

    1     WHAT is it?

    1.1    Einstein's Dreams is an environment in which visitors encounter performers in responsive fields of video, light, and spatialized sound, in a set of tableaus     Each tableau is inspired by a vignette  from Alan Lightman's novel, Einstein's Dreams, set in Berne Switzerland, in 1904, the year that Albert Einstein received the Nobel prize.   Or rather, a set of parallel 1904's, each of which is a different kind of time: in one, time slows to a halt as you approach a particular place; in another there is no future;  in third, time sticks and slips; in a fourth age reverses and what is rotten becomes fresh as time passes.

    1.2    In one concept, a large theatrical space (24 x 20 x 8m) will contain multiple tableaux, each with room for 6-12 people in its own pool of light and sound.  Visitors and perhaps performers can move from tableaux to tableaux.   The performers' actions will evolve in concert with the dynamics of lighting, sound, and visitors' expectations in order to create different kinds of time, inspired by the novel's vignettes.   Sometimes a performer will walk from a location, dragging the pool of conditioning light and sound.   The pool mutates or merges into another pool with a different type of time.

 

    2     A literature review and/or historical contemporary understanding of the context for the research

2.1    One hundred years after the two epochal advents in physics of relativity theory and quantum mechanics, we are still reverberating with the consequences.   ED is not a biography or a didactic allegory, but a poetic exploration of our consciousness in time.

2.2    There is huge volume of elaborations and didactic works about the theory of relativity and quantum mechanics, including Einstein's own popular essays, and the canonical scientific / philosophical works by Hermann Weyl, Alfred N. Whitehead Principle of Relativity, Henri Bergson Duration and Simultaneity.   In the arts, there have been some distinguished works that treat the theories and the theorists in an externalist way, as icons or as social phenomena.   But what we propose is to work directly with the spectators' felt experiences of time.

2.3    What Alan Lightman evoked in his novel was a poetic variation around the felt experience of time, not the "actual" physics of time, but alternatives of time, those hypothesized modes of living in time that could have been imagined, or that never were.   By foregrounding how time works in these worlds, the vignettes foreground movement, which is the temporalization of the body.   These movements are embedded in everyday life, made marvelous by poetic conceits of time.  This fits perfectly with both Sha and Montanaro's own artistic research into the charging of movement and gesture, of finding or evoking marvelous configurations of movement in the everyday.


2.4    Scientifically ED will create an experimental apparatus for inducing perceptibly different senses of temporal passage, chance and order, mortality and anisotropy -- the arrow of time.  Our goal is to use the poetic techniques of theater and dance and responsive media to evoke these sharply different ways of temporal experience so that the visitors will feel this for themselves.   Our experimental goal will be to discover ways to not just depict different kinds of temporal processes, but to condition a physical setting to yield first-person experiences of these different kinds of being in time.

2.5   
Re-interpreting C. Geertz's term "thick," the Topological Media Lab designs thick experimental events environments sensitive to the effect of the whole ensemble, rather than neutralizing all perceptual features but one measurable parameter such as the end-to-end latency of a force-feedback controller.

One scientific and phenomenological application of TML's holistic -- thick -- design approach to responsive environments is a collaboration with Dr. Tore Nielsen's Dream and Nightmare Laboratory (U. de Montréal) investigating the phenomenon of felt presence.   In that alternative to a minimalist psychological experiment, we built a whole room furnished like a small parlor, but whose furniture, lighting, and sound fields were subtly "animated" according to precisely fashioned scripts.   Another is a project with Prof. David Morris (Philosophy, Concordia) about the relation between memory, identity, and how a body comports in a physical place.

The Topological Media Lab was founded in 2001 on the premise that the disciplines with the most experience in the design of responsive environments, media, and "interaction" are in fact the performing arts.

As an artist, Montanaro has been concerned with shaping whole events, not as the sum of parts like special effects,  or technical action and reaction.  This meshes very well with the Sha's guiding concern with creating "thick" events that are "rich, but not complicated."   In fact the TML's methodological research has been to discover ways to understand how to condition a physical space using "thick" design techniques: "media choreography."  [EXPLAIN]  

2.6    Montonaro's aesthetic values  _____________ (symbolic power, joy, magic, ...),  and prefers not to fetishize the computational technology, which accords perfectly with Sha's aesthetic as well.   Following analogous design strategies in the engineering community like Mark Weiser's calm technology, or the European Union's ___-th Framework: "Disappearing Computer," we intend to create events in which the computational technology works as unobstrusively as well-designed lighting.

2.7    The core concerns of ED circle around the relationships set up in a performance, or an event in which at least momentarily the intents of creator (author, composer, choreographer) entangle with the intents of the performer and observer.    For Montanaro, performance at its heart is a relational triangle: performer - choreographer/director - observer.   For Sha this suggests fresh insights into questions raised in relativity and quantum mechanics about the how the observer is implicated in the construction of phenomena.  In relativity, the fundamental relation is between two frames of reference, one at rest with respect to the observer, and another in motion.    In quantum mechanics, the observed parameter is replaced by the notion of an expectation value which is the symmetrical inner product of the state of the observer with the Hermitian acting on the state of the observed.    We can never directly measure the state of the observer or observed.


[FIGURE 1. Performance is relational triangle: performer - choreographer/director - observer]

[FIGURE 2.  compare with relativity: observer - rest-frame - moving-frame;  or quantum mechanics:  <observer state, apparatus (hermitian operator), observed state>]

 

2.8    Remove if-then logic at macro (human) scale as well as CPU scale  =>

realtime concurrent programming vs "object-oriented programming" (OOP)

texture programming vs. OOP.

 

2.9    Performer  <-- act-on -->  environment;  but also self-act-on as well.  concurrency and distributed agency =>

need new movement structures <----> continuous state-based media choreography.  the experiment is to test the reach and adequacy of the Ozone as a compositional technique


2.10    Superposing, overlaying, imposing ritual/ formalized / artificially enhanced action on top of pedestrian, everyday actions  generates interesting tensions of intent ===> Einsteins Dreams: apply temporal operators  as a suite of estranging , magicking "devices"  using temporal textures (parallel , prior research at TML)

2.11    For performance, we can always "cheat" and depict. - i.e. allegory.  but instead of thinking of that as cheating, think of it as "Turk"-- ie theater:

2.12    The question is how can we bring the observer inside the event?  how can we induce altered, or alter ... temporal consciousness, according to Einsteins Dreams?

2.13    The role of the observer

In an interactive performing arts event a large part of the observer’s perception, understanding and appreciation is third person reliant, resting heavily on the performer’s interpretation of the creative artists dialogue as well as the performer’s physical and emotional relationship to the environment. Even though the observer and performer have access to the same audio and visual information the observer’s physical connection with the material is, experientially speaking, vicarious. Though this separation exists in traditional live performance the difference is amplified many times over with the introduction of the technologically enhanced or intelligent space. It is here, at the point of divergence between performance and non-performance based forms of interactive artistic expression, that my interest and current research lie. Performer or voyeur, the separation runs deep

2.14    Parallel with relativity and modern physics:

    The idea of the observer that both relativity and QM brought explicitly into the frame : see next sections

    3     The underlying technical/scientific issues or complexities, along with an explanation of how they will be resolved

    3.1    Temporal textures

    3.2    Think of filters rather than projections of image or sound-field.  We create realtime systems that sample the existing sound or lightfields (eg from arrays of microphones and cameras), and re-synthesize them and send them with meaningful spatial or temporal transforms back into the given tableaus.  Simple techniques, such as temporal delays that we can regionalize down to individual pixels or fixtures with resolution from milleseconds to hours, based on high resolution cameras with high frame rates (120 to 600 FPS) already can provide rich effects.  

But additionally we propose to leverage the TML's 5 years of experience adapting computational physics techniques to create temporal textures that have the qualities of physical materials -- smoke, water, syrup, ice, etc.   We are investigating how to leverage the person's tacit knowledge of physical materials to give a sense of tangibility that cuts across sense modalities.   This is an example of user interaction with "interfaces" so dense (like cloth or elastic controllers) as to require continuous models and a phenomenological rather than cognitive approach.

    3.3    Continuous State-based Media Choreography


    4     The names and titles of the members of the project team, their roles in the collaboration and how the project will be managed

    4.1    Michael Montanaro
    4.2    Sha Xin Wei

    5     The integrated work plan for the research and/or production activities

    5.1    WHERE will it be done?
    Montreal Usine-C
    Tate Modern 2011
    Harvard Biochem building (Galison)
    Under Brooklyn Bridge
    San Francisco Presidio

    6    The nature of the industrial participation, if any, and its contribution to the project (including a letter of support and an NSERC Form 183A for each industry partner)

    7    How participation in this project will enrich the professional experience of the individual artist, the scientist/engineer and other participants

    7.1    Montanaro has worked for years with dance and

    fresh ways to choreograph, other than usual action (dancer) reaction (system)

    7.2    Xin Wei: new ways to understand time and sense of time, ways to create temporal texture : field-based ways to

    7.3    Opportunity to working together experimentally,.   Have done it voluntarily on our own time for 5 years, now wish to do it funded.


    8    Plans to manage intellectual property and copyright issues related to the proposed project

 

    9    How the collaborators will evaluate their collaboration and research outcomes

    9.1    production

    9.2    publication in relevant journals: ACM Multimedia, Smart Graphics, Ubicomp, TDR,

 

    10    How the project results will be disseminated

    10.1    performance

    10.2    workshops with students in dance and media systems

    10.3    in publications

    11    The project’s impact on the broader artistic and scientific communities, and the social, cultural, economic or environmental benefits to Canada.

    11.1    lighting and movement]]>
Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342787 2010-03-14T22:49:22Z 2013-10-08T16:34:56Z restart Einstein's Dreams conversation Hi Michael, Lina,

OK, I've started Einsteins Dreams on a new blog service, where we're now posting other TML blogs too.

http://einsteinsdreams.posterous.com

It's private, with just us three for now.  You can post via email:  post@einsteinsdreams.posterous.com.

I've put up a new first draft, using the CCA-NSERC outline, even though we're not making this year's round.

Scientific question :  how do temporal textures  -- in light and sound and most importantly of activities of other bodies around us -- induce different senses of temporality?

Artistic - conceptual question: moving from from Husserl's phenomenology of time consciousness, but taken out of its cartesian frame, made into a field effect using our realtime media apparatus)

Practical (engineering) support:
We may have an opportunity to do this with allies from London and/or Berkeley (EE CITRIS, CNMAT); TML's temporal textures research; the GRAND NCE I'm in with Jeremy Cooperstock et al....

Xin Wei
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Xin Wei Sha
tag:einsteinsdreams.posthaven.com,2013:Post/342811 2010-03-14T22:14:46Z 2013-10-08T16:34:56Z Lina (16 April 2009):

“In a world where time is a sense, like sight or like taste, a sequence of episodes may be quick or may be slow, dim or intense, salty or sweet, causal or without cause, orderly or random […]” (Lightman 1993: 89)

In the real world memory and the sensory register are affected by fully embodied experiences that take place within a very specific time and space. What if these fixed variables of time and space were to be disturbed? In a series of short poetic vignettes, Alan Lightman’s novel, Einstein’s Dreams, presents such worlds where time and space behave differently. In one, time is an infinite loop, in another, the higher you go the slower time is, in a third, there is one place where time comes to a halt, and in another everyone knows the world will come to an end at a particular date and moment.

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Xin Wei Sha