[PD] [PD-announce] Piksel video report: Sonification of IT censorship technologies

[Marco Donnarumma]

Matju, I see your point and I won't try to convince you that this work is
something you don't believe it to be.

However, I believe our disagreement born from a very different viewpoint on
the nature of an """"artistic"""" intervention.
Your technical analysis is excellent, but it seems to me it goes over the
real scope of the work.

A reliable, efficient, accurate and consistent sonification system for IP
addresses was not what I aimed for.
The project is a simple critical observation.
That's my personal view of it and that's what I aimed for in first instance.

I agree with you, it's hard to imagine not obvious ways for censorship to
enter music, and that's one of the reasons why I'm happy experimenting with
it.

M




On Wed, Dec 22, 2010 at 8:02 PM, Mathieu Bouchard <matju at artengine.ca>wrote:

> On Mon, 20 Dec 2010, Marco Donnarumma wrote:
>
>  If one can't reasonably hear the censorship in it, is it appropriate to
>>> advertise the work using such a title ?
>>>
>> How would you define a 'reasonable listening of censorship'?
>>
>
> Well, perhaps there isn't one that can be done with IP addresses. IP
> addresses don't mean much to people, even less than phone numbers do,
> because the DNS and WHOIS systems do their best to hide those numbers away
> from people. There are hardly any well-known IP addresses apart from
> 127.0.0.1 and 192.168.0.1, which are reserved for things outside of the
> internet anyway.
>
> Then there is the problem of putting numbers in any way that the numbers
> could be recovered (or recovered enough) from the data. In the case of IP
> addresses, anything one bit away is a totally distinct address, so, if such
> distinctions are hard to hear, you aren't really playing the IP address, but
> rather, a fragment of it. The way you play it, even if someone could make
> sense of MIDI notes as high as 255 (when even just 140 is above Nyquist...),
> there are 24 combinations that would sound the same (for most IP addresses),
> because in an IP address, the order of the bytes is important, which is not
> rendered as such (you'd be either preserving the order or doing anything
> else that amounts to doing the same). Thus there are many combinations of
> non-banned addresses that sound exactly the same as the banned ones.
>
> Both things led me to think that in this work, the IP addresses are
> secondary, the fact that they are banned addresses is secondary, and the
> concept of censorship is secondary.
>
> That said, I don't know how censorship could enter a music piece as music.
>
> However, there are obvious ways to make it enter as lyrics : you write a
> song against censorship, and then it will get censored in China, and now
> it's doubly relevant to the topic of censorship.
>
>
>  Sure, but in this case soundfile is only for online documentation, the
>> work is exhibited as multichannel audio installation, the audience can
>> interact with the software and read relevant information about the
>> how/what/why.
>>
>
> Ah, that's very nice. Will you put some of it online one day ?
>
>
>  _______________________________________________________________________
> | Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
>



-- 
Marco Donnarumma aka TheSAD
Independent New Media Arts Professional, Performer, Teacher
Ongoing MSc by Research, University of Edinburgh, UK


PORTFOLIO: http://marcodonnarumma.com
LAB: http://www.thesaddj.com | http://cntrl.sourceforge.net |
http://www.flxer.net
EVENT: http://www.liveperformersmeeting.net
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.puredata.info/pipermail/pd-list/attachments/20101222/c5b8eadc/attachment.htm>