My Pure Data Patch Middle Screen.

This is the patch which controls the middle screen within my installation, this patch is different from the outer screens one since 5o% of the time it plays clips of the Canary wharf building in a portrait ratio and the rest of the time it plays footage from my database in a landscape ratio.

Now that my installation is fully functional I can make adjustments and improvements as they occur to me and I intend to conduct some fine tuning of my Puredata patch between exhibition opening hours.


My Pure data patch outer screens.

This is the final version of my pure data patch for the outer two screens.

It is very simple, but still the most sophisticated patch I have built to date.

The metronome object is used to  synchronise the play back of ‘random’ (referring to the random object within P.D)  videos and sounds from my data base and also to alternate the position of two Gemheads within the screen space.

Outer screens top level patch. 

Sub Patches

The videos within my database are organized based on the themes – Inward, Outward, Left to right and Right to left. The movselectA and movselectB objects are nested within my patch. The random number object is used to select a category and then a clip within that category.



This is the same as movselectA only the categories are inverted, thus if category’ inward’ is selected in movselectA then category ‘outward’ will be selected in movselectB.

wavselectA + wavselectB

There is one unique sound for each video ‘wavselectA/B’ controls the playback and functions in the same way as  ‘movselectA/B’

In my installation this patch is running on two computers which are networked together, it thus creates almost perfect synchronizing between the 4 channels of video featured on the outer two screens. Thanks to Ed Kelly for help setting up the network and also giving me his timeseed and dsp_meter patches which I have also utilized.

Dickensian links_ Passage from Interface culture

‘As the word suggests a link is a way of drawing connections between things, a way of forging semantic relationships. In the terminology of linguistics, the link plays a conjunctive role, binding together disparate ideas in digital prose. This seems self-evident enough, and yet for some reason the critical response to hypertext prose has always fixated on the dissociative powers of the link. In the world of hypertext fiction, the emphasis on fragmentation has its merits. But as a general interface convention, the link should be usually understood as a synthetic device, a tool that brings multifarious elements together into some kind or orderly unit. In this respect, the most compelling cultural analogy for the hypertext webs of today’s interfaces turns out to be not the splintered universe of channel surfing, but rather the damp fog-shrouded streets of Victorian London, and the mysterious resemblances of Charles Dickens. “Links of association” was actually a favourite phrase of Dickens. It plays a major role in the narrative of ‘Great Expectations – arguably his most intricately plotted work, and the most widely read of his ‘mature’ novels. For Dickens the link usually takes the form of a passing resemblance, half glimpsed and then forgotten. Throughout his oeuvre, the characters stumble across the faces of strangers and perceive some stray likeness, something felt but impossible to place. These moments are scattered through the novels like hauntings, like half memories, and it’s the ethereal quality that brings them very close to the subjective haze of modernism and the stream of consciousness.’ Interface Culture, Steven Johnson _ pg 111-112

Looking at Vertov and more Pd Experiments.

Got an idea while watching ‘Man with a Movie Camera’ what struck me as interesting in the clip that I have uploaded is the way that the shots are organized based on movement towards the camera, movement away from the camera, movement right to left and movement left to right.

Decided to organize the 78 clips I have created thus far using a similar principle.
And then made two sub patches to co-ordinate their playback.

What happens is that when one clip loads into the top window, it’s opposite will load into the bottom window. It was suggested some time ago (by Ed I think) that I should adopt a method similar to this, however I resisted for some time because I quite liked the seemingly haphazard way my material was presented. This kind of formal structure was a bit more cerebral than I would ideally have liked. However I was wrong to doubt the effectiveness of this technique, this simple means of categorizing clips has made the composition much more fluid and watchable and the formal categorizations are subtle enough to go generally un-noticed I think, it just makes the whole thing a bit less jarring.
Have completely dismantled my existing P.D patch, and am starting again from scratch, concentrating on the pseudo randomness now and getting some good results.
Looking forward to publishing a new example of my re-built Pd patch in action some time nxt week, Stay tuned.

Thoughts about interface.

What is interface?

The word face has a variety of different uses, in language we make reference to the face of a clock, or the face of a problem and we refer to those who are two faced and thus people whose dishonour is somehow metaphorically suggested my their extra-face.

The face beyond the face, then it would seem is an idea that evokes some sense of distrust, deception, darkness.
And so from the face beyond or the extra face, we come to the interface.
What is Interface?
This word is so common and in it’s general usage it seems to describe the organizational structure, the agent which directs and controls an encounter. In technological terms we make frequent reference to the Graphic User Interface or Gui being the visual system that regulates and organizes interaction between a user and the device they are using. It would seem then that the notion of functionality is a key feature in what we think about when using the term interface.
For arguments sake, lets say that the interface is in some sense a solution, a solution that enables one entity to engage with another. This text for example could be seen as an interface that mediates between the writer and the reader. But what if a problem could also be a form of interface? and what if dysfunction could also be a feature of an interface?
The interface in this sense could be the action which mediates between an intention and a result (or in other words a problem or a solution).
To take things a stage further we could isolate discussion within the realm of the human subjective experience, and thus talk of the present as being the interface of past and future.

I believe certain artworks are at war with their own interface because of the way they disrupt time and place, while sharing a desire to absorb empty space and dysfunction within themselves. I see this as a prominent feature of artwork from the expressionist era and also much art work from the digital era.

Abandoned Essay – Expressionist interfaces.

Here are is some work I did for an essay, which I have put on the back burner for a while. Figured I might as well post it on my blog as evidence of work or a thought process that did not take flight.

How dysfunction can evoke emotion within digital art?

This study firstly attempts to identify some key features within the historical movement of German Expressionism which reached it’s peak during the 1920s.
I will consider expressionism within the mediums of Painting, Theatre, Literature, Architecture, Dance and Sculpture in order to establish a rudimentary overview of this wide branching art movement.
I will start to push Expressionist Cinema into the main focus of this study by analyzing the role of editing, set design, and movement within the early silent films of Fritz Lang, F.W Murnau and G.W Pabst.
I will look at some of the philosophy that was contemporary and influential to that era of art history, notably the works of Fredrick Nietzsche and Martin Heidegger while briefly discussing some metaphysical ideas about perception, and of ways in which time defines space and location, in relation to theories of Timelessness, and nowhere.
I will illustrate some ways in which these great expressionist filmmakers where concerned with such metaphysical ideas.
I believe certain artworks are at war with their own interface because of the way they disrupt time and place, while sharing a desire to absorb empty space and dysfunction within themselves. I see this as a prominent feature of artwork from the expressionist era and also much art work from the digital era.
I will look at Lev Manovich’s Soft Cinema project, Mike Figgis’s Timecode, the Work of Raphael Lozano Hemmer, David Em and Dave McKean, while I explain how and why a new kind of expressionism is achieved when artists from a contemporary, digital culture, express soul and feeling through a decoration or exaggeration of the interfaces they employ.
I will conclude by suggesting some answers to my initial question and I will explain how the expressionist interface might be seen as a prominent feature among much Digital, or/and New Media Artworks
Key Words: Expressionism, Interface, Dysfunction, Subjectivity, Negative Space, Digital Art.