Saturday 12th August 2006 - San Jose (ISEA)
Exhausted by now, after a week of being here - but the discussion of concepts is enlivening.
In these discussions, ideas for approaches are applicable in so many paradigms: work dealing with environmental concerns - such as polution - and the collection of this data, working in bio-technology, digital preservation. These notions are being discussed at the theoreical level and could apply to whatever field... it's interesting to think through these problems.
Attended a panel presentation on Wetware and bio-technology. Amongst the people on the panel are Oron Catts (Aust) Beatriz da Costa and Paul Vanouse and Natalie Jerimijenko (NY, originally Aust) is voice linked in but theres very little time for this panel to discuss much in detail.
Following on from this is a panel Sound Culture. Stemming from the discussion of a festival run in Sydney in 1991 and continuing once every few years. On the panel are Nigel Helyer (Aust - who's work I included as an example of complexity in my Vital Signs paper last year), Ed Osbourn and Shawn Decker. Both Shawn and Ed come from a traditional music practice and this drives the discussion towards differentiations between traditional (contemporary) music practices and sound art practices. The presentation of the output is one significant factor.
Off to my room late-lunchtime-ish to download photos off my camera (it's now well and truly full).
The to see a performance by the Builders Association called Super Vision. This work integrates both theatre and new media technologies and deals with concepts of how this technology brings us together and yet can inhibit us at the same time. Via three stories, it shows how information can wield such power.
A rushed trip with Melinda Rackham to a textile and media gallery for 5 minutes just before they shut. There are some beautiful textile works by Alyce Santoro. She's woven audio tape to make clothing and by a modded walkman you can run the playback head along the material to hear burbles of sound.
After numerous discussions, I'm starting to feel that there are really two modes for digital preservation. That of the "preservation" with intent to provide access to the original, and the other of documentation (borrowing from the theatre and performance) where part of the work is actually the involvement interaction by a human or other animal. (There's an environmental work at this symposium where a series of homing pigeons have had pollution detectors strapped to their backs and as they circle the city this data stream is transmitted back.
Visited South Hall for a few hours - it's cool in there. A huge array of projects including the following:
Dinner with the same Australian PhD students i met up with in SF earlier in the week, and then an hour or so at the block party - where they've closed off the street to put on some performances and music...
however, everyone is too tired to participate (including myself). So instead I've come home to write this blog and upload images (which takes quite a while).
In these discussions, ideas for approaches are applicable in so many paradigms: work dealing with environmental concerns - such as polution - and the collection of this data, working in bio-technology, digital preservation. These notions are being discussed at the theoreical level and could apply to whatever field... it's interesting to think through these problems.
Attended a panel presentation on Wetware and bio-technology. Amongst the people on the panel are Oron Catts (Aust) Beatriz da Costa and Paul Vanouse and Natalie Jerimijenko (NY, originally Aust) is voice linked in but theres very little time for this panel to discuss much in detail.
Following on from this is a panel Sound Culture. Stemming from the discussion of a festival run in Sydney in 1991 and continuing once every few years. On the panel are Nigel Helyer (Aust - who's work I included as an example of complexity in my Vital Signs paper last year), Ed Osbourn and Shawn Decker. Both Shawn and Ed come from a traditional music practice and this drives the discussion towards differentiations between traditional (contemporary) music practices and sound art practices. The presentation of the output is one significant factor.
Off to my room late-lunchtime-ish to download photos off my camera (it's now well and truly full).
The to see a performance by the Builders Association called Super Vision. This work integrates both theatre and new media technologies and deals with concepts of how this technology brings us together and yet can inhibit us at the same time. Via three stories, it shows how information can wield such power.
A rushed trip with Melinda Rackham to a textile and media gallery for 5 minutes just before they shut. There are some beautiful textile works by Alyce Santoro. She's woven audio tape to make clothing and by a modded walkman you can run the playback head along the material to hear burbles of sound.
After numerous discussions, I'm starting to feel that there are really two modes for digital preservation. That of the "preservation" with intent to provide access to the original, and the other of documentation (borrowing from the theatre and performance) where part of the work is actually the involvement interaction by a human or other animal. (There's an environmental work at this symposium where a series of homing pigeons have had pollution detectors strapped to their backs and as they circle the city this data stream is transmitted back.
Visited South Hall for a few hours - it's cool in there. A huge array of projects including the following:
Dinner with the same Australian PhD students i met up with in SF earlier in the week, and then an hour or so at the block party - where they've closed off the street to put on some performances and music...
however, everyone is too tired to participate (including myself). So instead I've come home to write this blog and upload images (which takes quite a while).
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3:20 AM
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