<div class="gmail_quote"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">I would say that in this particular case (golden shield music), the<br>
problem is the "abstractization" of the material. as Marco himself<br>
admitted, due to the synthesis model he used, any numbers would have<br>
triggered a not very different result, and the music alone (I don't know<br>
the rest of the installation) doesn't let the intended meaning go through.<br>
<br></blockquote><div><br></div><div><br></div><div>a small, but important correction just for the sake of information. </div><div><br></div><div>I didn't said the music won't change much, that's what Matju argued.</div>
<div>I only said the rhythmic structure would be the same, but notes would change.</div><div><br></div><div>As described on the project webpage, each one of the four fragment of the IP constitutes a single voice of the synth.</div>
<div>So notes do definitely change in a recognizable way even with similar IPs.</div><div><br></div><div>Besides, "resulting notes are ordered by the amount of pages the Golden Shield obscured for each IP address: the website’s IP obtaining the highest page result on Google.com becomes the first note of the score and the others follow in decreasing order."</div>
<div><br></div><meta http-equiv="content-type" content="text/html; charset=utf-8"><div>Which makes the composition fairly unique and related to the subject of the investigation.</div><div><br></div><div>I keep on believing to have reached the needed technical degree for such kind of work. Its importance to me is given by the _concept_ of (poorly said) giving a voice to banned websites through music or sound, raising awareness about the existence of this kind of censorship.</div>
<div><br></div><div>I'm still very happy to have stimulated such interesting conversation.</div><div>Thanks everybody for throwing yourself in...</div><meta http-equiv="content-type" content="text/html; charset=utf-8"><div>
<br></div><div>M</div><div><br></div><div><br></div><div><br></div><div><br></div><div><br></div><div><br></div><div><br></div><div><br></div><div> </div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
since someone asked how to make censorship clear, I would propose (in the<br>
same way to make something else clear) for example to change the sound<br>
content, so that we can get a more clear objectification of what's being<br>
dealt with. just of the top of the head I can give a concrete realisation<br>
(which will have a different result): instead of "abstract" tones, use<br>
voice samples speaking out the IPs / or flustering, as being menaced / or<br>
computer "reading" / or voice samples but with some variable distortion<br>
(that can be controlled by the country from where the site comes, ...)<br>
This would be a proposal so that the result is more connected with the<br>
concept and process of the installation. Predicting some critiques,<br>
someone can say "with the IPs I don't know what are the sites", but they<br>
don't really have to know. It should be enough to get an idea of the<br>
quantity of manipulated sites, I guess that was the intention of the<br>
installation. Or then, another level could use the whois data to sonify as<br>
well... of course the possibilities are endless.<br>
<br>
From my side, I just resume: if you have a clear process/concept that<br>
gives it's identity to the project, it's a bit of a pity that the final<br>
result looses power because there isn't a strong enough "palpable"<br>
(whatever that is) connection. Going too far with the "palpability" could<br>
result in a "technical demonstration", but letting things too loose means<br>
that you're not expressing anything at all, you're just making "nice<br>
music" (which is what you said yourself you didn't want to do). The<br>
question is finding the balance.<br>
<br>
And of course, you can always write an article.<br>
<br>
Jo?o<br>
<br>
<br>
> This is a classic example of the ongoing (mis)communication(s) between<br>
> artists and scientists. In this case, I think Mathieu is confusing the<br>
> purpose of art with the purpose of a scientific paper. One's aim is to<br>
> establish and demonstrate facts, the other to explore possibilities and<br>
> inspire imaginative (and often non-linear) connections.<br>
><br>
> For me, far too much of this art-science stuff errs on the side of<br>
> technical demonstration. And far too many artists lack the training to<br>
> engage with the real media of their work and instead hire technicians to<br>
> realize it for them. The flip side of that coin is that poetry is often<br>
> unquantifiable ("program me something sad" says the media artist to<br>
> their trusty technician) and causes segfaults in engineer-type brains ;-)<br>
><br>
> D.<br>
><br>
> On 12/22/10 9:18 PM, Marco Donnarumma wrote:<br>
>> Matju, I see your point and I won't try to convince you that this work<br>
>> is something you don't believe it to be.<br>
>><br>
>> However, I believe our disagreement born from a very different viewpoint<br>
>> on the nature of an """"artistic"""" intervention.<br>
>> Your technical analysis is excellent, but it seems to me it goes over<br>
>> the real scope of the work.<br>
><br>
<br>
<br>
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End of Pd-list Digest, Vol 69, Issue 145<br>
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</blockquote></div><br><br clear="all"><br>-- <br>Marco Donnarumma aka TheSAD<br>Independent New Media Arts Professional, Performer, Teacher<br>Ongoing MSc by Research, University of Edinburgh, UK<br><br><br>PORTFOLIO: <a href="http://marcodonnarumma.com" target="_blank">http://marcodonnarumma.com</a><br>
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