http://www.javidiani.com M A Z I Fri, 01 Jun 2012 22:40:19 +0000 http://www.javidiani.com en http://www.javidiani.com/NiteKite http://www.javidiani.com/following/javidiani.com/NiteKite Fri, 01 Jun 2012 22:40:19 +0000 M A Z I 95680 In Collaboration with: Navid Navab, Angela Gabereau April 2008 NiteKite by mazi-j NiteKite is a sonic, performative object. It is composed of a large hexagonal box kite; augmented with electro-luminscent wire, contact microphones and FM transmitters. The intention in this production is to explore notions of gesture, performance, enactment, and sonification. <img src="http://payload.cargocollective.com/1/0/9681/95680/kite copy.jpg" width="670" height="446" width_o="1006" height_o="670" src_o="http://payload.cargocollective.com/1/0/9681/95680/kite copy_o.jpg" data-mid="456503" border="0" align="left"/> “Nite Kite” is an exploration of the performativity of an artifact. When choosing an object, many objects were considered (balloons, flag, non-Newtonian Fluid). Kite provided many interesting possibilities. A kite is animated in the collaboration of human and environmental actors. Its behavior is co-determined. However the kite has a character of its own: its aesthetic qualities and geometric shape. The geometric shape of the kite effects the kite’s movement in the space. Therefore a kite can be considered a responsive artifact that performs, and moves with relation to human gestures, environmental force, and its own tangible geometric qualities. The environment acts the kite responds. The human acts the kite responds. The kite acts, the human responds. Gestural Analysis: Movement as Transformation Henri Bergson considers movement as a “transformation” rather than a “translation in the space.” In other words, a movement is an invisible qualitatively changing whole rather than simply a shifting of position of an object in the space. In the case of this project, the movement of the performer, the wind, and the movement of the kite are all part of a “multiplicity” that transforms over time. As the body moves, it perturbs the movement of the kite, which also determined by the environment (wind), and through these shifts in positions a qualitative change takes place, that effects the performer, the kite and the space they traveled in––a change in a Whole [le Tout]. So far, the kite is thought of as a heterogeneous multiplicity. In other words each component of the Whole can be by itself thought of a separate element that posses a constant difference and heterogeneity with others. However looking at the Whole or multiplicity of these components they can only be functioning and in unity once there exist a correct relation between one another. <img src="http://payload.cargocollective.com/1/0/9681/95680/kite3.jpg" width="670" height="1005" width_o="700" height_o="1050" src_o="http://payload.cargocollective.com/1/0/9681/95680/kite3_o.jpg" data-mid="745489" border="0" align="left"/> In order to understand the performative anatomy of our artifact, let’s break this multiplicity into its components, on the level of gesture, into three components: • Human gestural movement, • Movement of air (wind) • The movement of kite, Each of these components can be further broken down. With the movement of the kite we have: • The movement of the spool of string. • The macro movement of the string, caused by both the movement of the kite’s body and the spool. • Micro vibrations of the connecting string caused by the wind, • Movement of the kite’s body --> Vibrations of the fabric of kite’s body As demonstrated, the overall movement of the kite can be broken down into smaller composite movements. This analysis allows a comparison of the movement within this system, with Wittgenstein’s notion of composite and primary elements. We can see here that this multiplicity is a set of movements that, on one hand, stands as a whole, and, on the other hand, can be recursively dissected, uncovering the many contributing movements. <img src="http://payload.cargocollective.com/1/0/9681/95680/spool.jpg" width="670" height="446" width_o="1037" height_o="691" src_o="http://payload.cargocollective.com/1/0/9681/95680/spool_o.jpg" data-mid="745497" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/95680/spool2.jpg" width="670" height="446" width_o="1037" height_o="691" src_o="http://payload.cargocollective.com/1/0/9681/95680/spool2_o.jpg" data-mid="745498" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/95680/spool3.jpg" width="670" height="446" width_o="1037" height_o="691" src_o="http://payload.cargocollective.com/1/0/9681/95680/spool3_o.jpg" data-mid="745499" border="0" align="left"/> Technical Description: Gesture, Sound and Light The different movements of this system produce sound (which is itself another form of movement within the system.) To highlight and amplify the relation between gesture and sound, this sonic data is collected. The sound of the rattling of the fabric in the kite’s body is captured with a contact microphone and then transmitted to the ground via FM radio transmitter. The sound of the string, which acts as a wind harp, is collected with the same technique. Once captured the sounds are computationally enhanced, responsively processed and then projected into the space, so that the final sonic output of the system becomes a representation of the entire multiplicity. A Bluetooth accelerometer is attached to the kite spool, and its output is mapped to various parameters in the sound processing chain. In this way the gestures of the performer effect the captured sonic data. The sonic output results from the artifact’s responsive behavior to the environment, its own shape, and of course the performers movement. Nite Kite gives voice to the union of the human-performer, artifact-performer and environment. The movement of the kite is also visually enhanced through the use of light. The kite is equipped with luminous wires that are reactive to sound. These wires, and its sonically trigger controller, are embedded within the kite’s body. The wires glow in relation to both the sound of the wind and the sound of the kite. The luminous wires translate the larger movements of the kite into light. The light visually amplifies the behavior of the kite and allows the kite to be seen from greater distances in the darkness. It creates an enchanting, glowing, floating 3-D geometric shape in the sky. A Very Brief Autopoetic Analysis The kite-system as a whole (the kite, the spool, sound, computation, etc…) can be viewed as an autopoetic system, and the way the performer and the environment interact with the system as perturbation. According to Varela: Autopoetic machines do not have input or outputs. They can be perturbed by independent events and undergo internal structural changes which compensate these perturbations. If the perturbations are repeated the machine may undergo repeated series of internal changes, which may or may not be identical. (Autopoesis and Cognition) The kite-system responds to performer’s gestures. For example, when the spool is moved the kite-system is perturbed. This perturbation causes the kite-system to undergo an internal change. This change manifests in sound, movement and light. Furthermore, the performer, the kite, plus the involved technologies combine, swap behavior, adapt to each other and enact an autopoetic machine. It is also possible to zoom out a bit more and also consider the eco-system and the performer as part of the kite. For without the wind and the performer, the kite would not function as a kite. Note that different definitions of ‘the kite’ have a direct effect on its autopoesis. In search for the Holy: As pointed out before, our basic intention for this project was to explore many possible ways for an artifact to perform and/or be performed on a stage where greater realities and new relations could be enacted. We are already talking about the performance of artifacts. • If this performance is to lead us to new realities then where and what is the source and essence for such enchantment? • How could an artifact enact new realities through its performance? • “Can the invisible be made visible through the performer's presence?” “If the need for a true contact with a sacred invisibility through the theatre still exists, then all possible vehicles must be re-examined.” (Brook, Empty space) Human expression through artifacts VS. Egoless performance of artifacts In search for the holy, our first answer was to induce our ideas and expressions into our artifact. We wanted to load the kite with sensors and computational algorithms that would turn the kite into a living system, which was capable of performing new relations. The descision was made to invest in a synthesized and self-governing event-sound generator that would be embedded within the kite’s behavior. <img src="http://payload.cargocollective.com/1/0/9681/95680/kite4.jpg" width="670" height="1005" width_o="700" height_o="1050" src_o="http://payload.cargocollective.com/1/0/9681/95680/kite4_o.jpg" data-mid="745490" border="0" align="left"/> However, after a closer look at the kite, we noticed that the kite itself is much alive and many performative ideas speak through it, if one were to listen inventively. We discovered the invisible hiding itself in many corners of the kite’s multiple reality. After discovering the richness of the kite itself, our project went through a positive revolution: instead of expressing our human ideas through the kite we decided to let the kite express itself by enhance the kite to make its acting voice available for a human sensory experience. This revolution was made possible through our specific approach towards the process of making art: The process of making and realizing an artwork could or could not be accepted as a non-linearly dynamic (autopoetic) set of relations. If the directors accept this autopoitisity, then new relations and subjectivities could be enacted through the interactions of the ideas, people, the material involved and the experiences gained. It was through this acceptance that our project enacted and shaped its aim to aid many invisible forces to perform their acts on a human stage. Ancient /Sacred /Egoless (an example): Part of the Nite-Kite realization process involved rediscovering an ancient form of music over 2000 years old - Aeolian Music - music created by Aeolus, the Greek god of wind. Wind plus a string is the only string-instrument made by man that is sounded directly by one of the four "elements" water, earth, fire and air. Since the Kite-Harp is played mostly by the wind, its music is wholly without ego; a self-less expression of the flowing interactivity of all things. NiteKite is partly a revival of this egoless and sacred music <img src="http://payload.cargocollective.com/1/0/9681/95680/kite 1.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/0/9681/95680/kite 1_o.jpg" data-mid="745488" border="0" align="left"/> Sound: Spatio-Spectral Semantics Through multichannel sound, the audience is metaphysically situated inside of the dynamic couplings of the wind, string, kite and human. Various spatio-spectral effects reflect the macro, messo and micro dynamics of the kite’s multi-layered transformations. While the overall sonic texture preserves the kite’s unique identity, various computational enhancements help the audience to sonically experience the underlying multiplicity of involved movements. The word 'macro' itself proposes the architecture of multiple levels of organization in the sound structures, which we could introduce as meso and micro levels. These are a result of the theoretical explanations of the multiplicity of time scales in organized sound. In this hierarchy, the development of different layers happen in continuum regarding the perceptual attributes. -Sinan Bokesoy In the spectral domain, the algorithmic DSP distributions involved in Nite-Kite were put together in a way to apply messo and micro transformations which were fed by sensory (sonic, dynamic) input and which lead to the emergence of macro structures. Note that the incoming sonic data was also used as control data through the use of such modules as gates, thresholds. On a spatial scale, independent macro movements where applied to the sound-streams to govern a more controlled spatial behavior; one that represents the macro movements of the kite, the human gestures, and the wind. Appendix: Physics of the KiteHarp: “When the wind blows past a string, little spirals of air move to either side (the wind stream "sheds vortices"). These spirals or vortices form alternately and create an oscillation. The number of oscillations in a given time (a second is the amount of time generally used) is called the frequency. When the wind is consistent over a long enough time and the vortex shedding occurs in a regularly repeating pattern, the string will sound IF the frequency of the oscillation matches the frequency of the string tuning. This depends on the speed of the wind.” (http://www.konzak.com/windharp/physics.html) On a normal wind harp, the chances of the wind having exactly the right speed and coming from exactly the right direction to reach the string means that the Aeolian harp may not play very often. However, the kiteHarp’s length, direction and angle vary constantly and therefore a wider range of wind directions and speeds can cause vortice frequencies that sound partials. Resources: Gilles Deleuze, Bergsonism. Peter Brook, Empty Space. Francisco Varela, Autopoesis and cognition. Sinan Bokesoy: http://www.sonic-disorder.com/ http://www.konzak.com/windharp/physics.html http://www.faculty.fairfield.edu/jmac/sj/scientists/kircher.htm http://plato.stanford.edu/entries/bergson/ http://www.javidiani.com/Change http://www.javidiani.com/following/javidiani.com/Change Fri, 01 Jun 2012 22:40:06 +0000 M A Z I 1227181 <img src="http://payload.cargocollective.com/1/0/9681/1227181/change.jpg" width="500" height="715" width_o="500" height_o="715" src_o="http://payload.cargocollective.com/1/0/9681/1227181/change_o.jpg" data-mid="5926022" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/1227181/change2.jpg" width="500" height="715" width_o="500" height_o="715" src_o="http://payload.cargocollective.com/1/0/9681/1227181/change2_o.jpg" data-mid="5926028" border="0" align="left"/> http://www.javidiani.com/As-the-Sea-Waves-I-Person http://www.javidiani.com/following/javidiani.com/As-the-Sea-Waves-I-Person Fri, 01 Jun 2012 22:39:52 +0000 M A Z I 1548532 <img src="http://payload.cargocollective.com/1/0/9681/1548532/SEA_860.png" width="800" height="1195" width_o="800" height_o="1195" src_o="http://payload.cargocollective.com/1/0/9681/1548532/SEA_o.png" data-mid="7578038" border="0" align="left"/> http://www.javidiani.com/Dancing-The-Others http://www.javidiani.com/following/javidiani.com/Dancing-The-Others Fri, 01 Jun 2012 22:39:43 +0000 M A Z I 1301222 <img src="http://payload.cargocollective.com/1/0/9681/1301222/IMG_1744-8765_860.jpg" width="860" height="573" width_o="860" height_o="573" src_o="http://payload.cargocollective.com/1/0/9681/1301222/IMG_1744-8765_o.jpg" data-mid="8895050" border="0" align="left"/> Proposed Book cover. http://www.javidiani.com/Iran-Votes http://www.javidiani.com/following/javidiani.com/Iran-Votes Fri, 01 Jun 2012 22:39:41 +0000 M A Z I 1261176 <img src="http://payload.cargocollective.com/1/0/9681/1261176/Picture 101_860.jpg" width="860" height="514" width_o="998" height_o="597" src_o="http://payload.cargocollective.com/1/0/9681/1261176/Picture 101_o.jpg" data-mid="7242996" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/9681/1261176/allnew_860.png" width="833" height="1250" width_o="833" height_o="1250" src_o="http://payload.cargocollective.com/1/0/9681/1261176/allnew_o.png" data-mid="7243063" border="0" align="left"/> http://www.javidiani.com/Free-Ahmad http://www.javidiani.com/following/javidiani.com/Free-Ahmad Fri, 01 Jun 2012 22:39:39 +0000 M A Z I 1163880 <img src="http://payload.cargocollective.com/1/0/9681/1163880/00483-zeidabadi_1-o.jpg" width="500" height="715" width_o="500" height_o="715" src_o="http://payload.cargocollective.com/1/0/9681/1163880/00483-zeidabadi_1-o_o.jpg" data-mid="5602917" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/1163880/PANAHI2.jpg" width="500" height="715" width_o="500" height_o="715" src_o="http://payload.cargocollective.com/1/0/9681/1163880/PANAHI2_o.jpg" data-mid="6215902" border="0" align="left"/> http://www.javidiani.com/SEA http://www.javidiani.com/following/javidiani.com/SEA Fri, 01 Jun 2012 22:39:38 +0000 M A Z I 2009318 <img src="http://payload.cargocollective.com/1/0/9681/2009318/1_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/1_o.jpg" data-mid="9987650" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2009318/5_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/5_o.jpg" data-mid="9987633" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2009318/4_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/4_o.jpg" data-mid="9987637" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2009318/5-2_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/5-2_o.jpg" data-mid="9987641" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2009318/2_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/2_o.jpg" data-mid="9987651" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2009318/3_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/3_o.jpg" data-mid="9987652" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2009318/6_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/6_o.jpg" data-mid="9987653" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2009318/7_860.jpg" width="800" height="500" width_o="800" height_o="500" src_o="http://payload.cargocollective.com/1/0/9681/2009318/7_o.jpg" data-mid="9987654" border="0" align="left"/> Set of desktop backgrounds prepared for public use. You can download the High-Res versions here Please note that all the copyrights for these images are reserved and they may not be included in any other website unless reference to this blog, or my portfolio website is made. http://www.javidiani.com/Le-Bon-Lait http://www.javidiani.com/following/javidiani.com/Le-Bon-Lait Fri, 01 Jun 2012 22:39:35 +0000 M A Z I 1900949 Proposal for Le Bon Lait's new packaging campaign. <img src="http://payload.cargocollective.com/1/0/9681/1900949/milk33_860.jpg" width="768" height="1024" width_o="768" height_o="1024" src_o="http://payload.cargocollective.com/1/0/9681/1900949/milk33_o.jpg" data-mid="10517889" border="0" align="left"/> http://www.javidiani.com/YahLive http://www.javidiani.com/following/javidiani.com/YahLive Mon, 14 Nov 2011 00:41:12 +0000 M A Z I 2296304 <img src="http://payload.cargocollective.com/1/0/9681/2296304/logo_860.jpg" width="860" height="302" width_o="2048" height_o="721" src_o="http://payload.cargocollective.com/1/0/9681/2296304/logo_o.jpg" data-mid="11537836" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/2_860.jpg" width="860" height="607" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/9681/2296304/2_o.jpg" data-mid="11523910" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/IMG_2089_860.jpg" width="860" height="573" width_o="1500" height_o="1000" src_o="http://payload.cargocollective.com/1/0/9681/2296304/IMG_2089_o.jpg" data-mid="11546249" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/IMG_2091_860.jpg" width="860" height="573" width_o="1500" height_o="1000" src_o="http://payload.cargocollective.com/1/0/9681/2296304/IMG_2091_o.jpg" data-mid="11546343" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/3_860.jpg" width="860" height="607" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/9681/2296304/3_o.jpg" data-mid="11523915" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/typography_860.jpg" width="860" height="607" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/9681/2296304/typography_o.jpg" data-mid="11523945" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/CD_860.jpg" width="860" height="608" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/9681/2296304/CD_o.jpg" data-mid="11523918" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/envlp_860.jpg" width="860" height="608" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/9681/2296304/envlp_o.jpg" data-mid="11523933" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/Earth_860.jpg" width="860" height="645" width_o="1600" height_o="1200" src_o="http://payload.cargocollective.com/1/0/9681/2296304/Earth_o.jpg" data-mid="11523925" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/color_860.jpg" width="860" height="607" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/9681/2296304/color_o.jpg" data-mid="11523923" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2296304/grad_860.jpg" width="860" height="607" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/9681/2296304/grad_o.jpg" data-mid="11523938" border="0" align="left"/> http://www.javidiani.com/Web http://www.javidiani.com/following/javidiani.com/Web Mon, 24 Oct 2011 01:02:00 +0000 M A Z I 2193244 Beep Record Store <img src="http://payload.cargocollective.com/1/0/9681/2193244/Beeweb-s-2_860.jpg" width="860" height="1173" width_o="860" height_o="1173" src_o="http://payload.cargocollective.com/1/0/9681/2193244/Beeweb-s-2_o.jpg" data-mid="10964835" border="0" align="left"/> . Sjuzhet <img src="http://payload.cargocollective.com/1/0/9681/2193244/1n_860.png" width="860" height="420" width_o="860" height_o="420" src_o="http://payload.cargocollective.com/1/0/9681/2193244/1n_o.png" data-mid="10961990" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2193244/2n_860.png" width="860" height="420" width_o="860" height_o="420" src_o="http://payload.cargocollective.com/1/0/9681/2193244/2n_o.png" data-mid="10961991" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/9681/2193244/3-8n_860.png" width="860" height="420" width_o="860" height_o="420" src_o="http://payload.cargocollective.com/1/0/9681/2193244/3-8n_o.png" data-mid="10961993" border="0" align="left"/> .