The other week was the most stressful week of my year, and I got a staph infection in my face. May started off so warmly and I didn’t realize what I set myself up for. I worked an intrigue-ruined job at an epically dirty factory. I had my final meetings with students. I defended at my second year review with faculty (I passed). I had to prepare renderings of the Vessel installation (TONY 2012 show) to send to the City Council and prepare for the following week’s meeting. All PHP applications hosted on my rented server got infected by a virus which resulted in Google black-listing several websites, including this very blog (and people couldn’t get Mobile Sauna content from the dsinstitute site either). Finally, I had to drive the vehicle pulling the still-to-be-registered mobile sauna on it’s maiden road voyage (see video here).

This was too much to do in one week and it had serious consequences on my physical and emotional health. Now I’m on antibiotics and recovering. To celebrate the end of the semester, I decided to slap together a short little video from cell-phone footage that was all shot on Thursday, May 3rd of said hell week. As you can see, the week was full of surprises. The video here is the best way I could pack the impressions of that day into a single unit. Have faith that the other days that week were at least this charged. The footage includes job related scenes as well as footage from an event I encountered when doing an installation site visit.

Kickstarter’s all-or-nothing policy means that we won’t get any of our pledged funding if we don’t reach our full goal. Despite this, we have no choice but hope for the best and work on the sauna anyway because the winter is coming! We’ve used up our modest grant from SU’s VPA, and are going into personal dept in order to at least protect what we’ve done so far from the rapacious winter. We built the outer shell on top of our trailer, and will soon be able to fire our stove to keep warm during construction. In order to communicate to our supporters the imminent mobile sauna experience, we decided to create a 3D sketch of what the internal space will be like. Incidentally, a very successful kickstarter campaign called PrintrBot discusses Google SketchUp as an accessible modeling tool, and I decided to try it.

I installed the free version of the program, and spent about an hour watching the 4 introductory how-to videos (here is part 1). Google SketchUp has a lot of really nice snapping behavior allowing me to easily align edges of objects. Google SketchUp is smart: in the middle of drawing and edge I can hover over other edges to find their mid-points, and then Google SketchUp generates guide-lines on the fly. The program provides an easy interface to Google’s 3D Warehouse which allowed me to download a variety of human models and play with different configurations of internal sauna seating. Trying out different combinations of seating arrangements was straight forward, and every team member’s ideas could be quickly tried out. In the end, we went with the most colorful example for our Kickstarter update.

I am working on an installation that will include this toilet. The installation will premiere next fall at The Other New York 2012 biennial in Syracuse, NY.

I harvested the first crop of basil to make pesto escargot that turned out quite well. I brought them to a potluck dinner organized by Sam Van Aken in honor of Shimon Attie. Think Shimon thought the snails were alright!

Check out the video tour and meet the fish!

Adam Smith, the father of Capitalism, wrote about “The Invisible Hand”. The Invisible Hand is the functioning of a capitalist system, which would always bring good. Adam Smith imagined a well honed system of free markets plus enveloping democracy that turned people’s innate greed into productivity. I like the idea that some people are hungry and hire me to make their dinner and both parties benefit. But what if there is only a finite amount of food to be turned into dinner? In a reality of limited resources, the blind Invisible Hand hits a wall.

Jonathan Swift satirized this exact scenario in his writing on the Irish Potato Famine. The most shocking part of that actual historical event is that the Irish continued to export food while their population was dropping dead from famine! The “Visible Hand” is what is inevitably called in to clean up after the fervent workings of the Invisible Hand are complete. In the case of the Irish, the grave diggers together formed the thumb of the Visible Hand.

In the case of Onondaga Lake in Syracuse, NY, which was turned from a resort lake to the worlds dirtiest waste pit in the span of a 100 years, the Visible Hand takes the form of giant cranes currently dredging the lake. Honeywell’s externalities are largely to blame for the continuing mess, though the lake has indeed gotten a lot better. Nonetheless, the tons of mercury persist: 22 pounds of it was dumped per day at the nadir of industrial lake use. Corporations externalize risk by externalizing as many costs as possible. This is great for the share holders in the short term, but awful for the other stake holders (the community, the environment) in the long term. The externalities disappear off the record books and reappear smack dab in the middle of our lives.

Remember the time before the 2008 crash? The “Trickle Down” theory seemed somehow semi-real, at least in the form of that slightly bitter drip in your throat after the party at your financier’s friend’s Manhattan apartment. Today, as the economy sinks, corporations are evaporating way faster than the festering pools of externalities they leave behind. The Visible Hand is made of the thousands of Chinese people hired to paint pollen onto flowers to polinate them, filling in for the deceased bees. The Visible Hand is the conglomeration of crews and communities cleaning up and dealing with catastrophic oil shipping accidents that could have been prevented (Exxon Valdez Spill: captain was drunk). The Visible Hand are the people lighting their tap water on fire after they’ve signed their land over to Hydraulic Fracturing (‘Fracking’) projects.

In a Russian fairy tale from my childhood there is a whale so large that a whole city exists on it’s back. I am fascinated with the idea that the whale can do it’s thing and due to it’s sheer size never even feel the city. At the same time, the citizens of the city are going about their business, not even noticing that they are living on a whale! I haven’t seen such a beast as that whale in real life until I saw the bucket excavator. Is that thing really real‽ It looks like Dick Cheney’s steam punk fantasy nightmare. And if you look at it, there is even a little house on it! It looks like a fine family home, but how long can someone live up there? And why do they need to live on the excavator anyway?

Perhaps the bucket excavator is also a whale, swimmingly guided by that ever-determined Invisible Hand, mining dirty brown coal for us to burn for electricity. I don’t want to think about the kind of Visible Hand we are going to need to arm wrestle this bad boy. The bucket excavator symbolizes the mutability of the Invisible Hand, it’s slow but crushing fatalistic lexicon. But the bucket excavator is easy to pick on you might say, and other examples of apocalyptic machinations of State Captialism are probably more salient.

Take for example, the trucks Bloomberg just unleashed on the Occupy Wall Street protesters. The amazing sound weapons were used to bring the protesters to their knees do the bidding of the Invisible Hand, which by this point carries signs of gangrenous infections of government corruption. The fetid smell of a wormed-through congress, pampered by lobbyists and drunk on insider information, has swirled around the fingers of Adam Smith’s Invisible Hand. As we sit by and feel the Invisible Hand fisting our future, we may ask: is so-called “progress” evil?

Progress is great, and anyone who says that in order to stay competitive we have to steer clear of environmental regulations is probably someone who is not willing to face the true costs. People say that wind and solar energy would be competitive with coal if the price of coal reflected it’s true cost. Recent reports show that despite the economic downturn, CO2 production kicked up 5% in 2010. Global subsidies for the fossil fuel industry is being approximated at the astronomical levels of 400 billion. Yet, in the US the energy companies invest only 2% on R&D (as written about in a recent New Yorker magazine issue). Basically, that is almost nothing. We need uncorrupted regulation to wrap the uncorrupted free market and achieve a system that makes sense.

The current condition of Corporatism, or Statism, is fragile. The system claims to be doing it’s best: and like HAL 9000 it is apocalyptically wrong. The Invisible Hand, though it is festering with infected abscesses from bailout injections and bedraggled with engorged ticks of greed is flailing forward and shaping and re-shaping the world in it’s image. But the Visible Hand knows what the other hand is doing. The Visible Hand is inevitable. The Visible Hand will HAVE to do the clean up.

My friend needs to create a time-lapse of his laboratory setup. I already know that stiching image sequences together into a movie is straight-forward (using Quicktime Player 7 for example). But how to grab the stills at a certain time interval?

Using a new digital still camera with built-in time-lapse features is one way. Hooking up an intervalometer to a still camera is another method. But if you would like to use a software solution, you might be tempted to evaluate two programs: one called Boinx iStopMotion (priced at $50) and EvoCam (priced at $30).

Both of those programs have free trials available. I tested them out and found that both lacked the ability to record at the needed resolution: 2592×1944. My friend needs full resolution images of the setup to string into a compressed movie later. Boinx didn’t seem to want to grab images over 900 pixels in width. Evocam had a buggy preview mode, and didn’t want to grab anything taller than 1600 pixels in height.

Overall, EvoCam seemed liked it had more advanced features (grab an image when hearing a sound, upload an image to a server, etc) and was priced lower. I almost recommended it, but alas it couldn’t grab at the resolution wanted and I decided to write a Jitter patch. Here is the patch. It has a way to set the resolution and to adjust the frequency of image grabs. It dumps png images named with the timestamp right in the folder that the patch is in. If you don’t have Max/MSP/Jitter, you can run it using the free Max MSP Runtime from Cycling 74.

I banged on a drum-kit from the video game Rock Band and the MIDI events triggered a video synthesizer made by David Lublin. This was the setup we used to back JUICEBOXXX when he opened for Madlib and J.Rocc. Checkout a good summary video of the night by Sebastien B. JUICEBOXXX had an 8-bit sound going for some of his backing tracks, so the video synthesizer relied on a disco color-scheme. Every hit of a pad revealed a new color bar, while the kick-drum advanced the color sequence to the next one. The amount of color bars on the screen increased as the performance went on. This straight-forward setup was perfect for JUICEBOXXX who was hot and bothered and running around on the floor with the kids. Here is a newly acquired video of a track and a half.

There seems to be a bug in Android phone browsers relating to overflow:hidden CSS property. The overflow property, when set to hidden on a div causes any elements that spill out of that div’s bounding box to be clipped and not shown. It seems that on my phone’s browser this breaks for videos. Youtube embeds, for example, float on top of everything even when they are supposed to be hidden.

Using jQuery and CSS selectors I found all the elements that are supposed to be hidden and set their visibility to hidden as well, which really hid them even on my phone. Here is the diff to WP_Slider Theme (generated with git) that shows my changes. I’m also including another patch which hides redundant commenting links in the theme. More specifically, the theme doesn’t differentiate between a first-time reply (first comment ever) link and a link to previously made comments. Other than that it is a fine theme, though if I end up using it I would tone down the graphics quite a bit.

Misha Rabinovich giving the SoYummy lecture performance and showing Roy Arden's The World as Will and Representation SoYummy summary. Photo by Yogesh Girdhar.

On Wednesday, August 3rd, I gave a lecture performance at the robotics building on the McGill campus in Montreal. There was a good audience — both in terms of numbers, energy, and inquisitiveness. I presented research and ideas stemming from my experimentation with computer vision software being developed at McGill. A good amount of the audience was already familiar with the research behind the software, so I had the pleasure of presenting ideas from new perspectives of art theory and philosophy.

According to Charlie Hoban (Educational Technology theorist), the lecture as performance is achievable by only 2% of lecturers and is worth digitizing for the future. Even though the bandwidth limitations for disseminating such lectures he describes will soon seem laughable, I agree that the question of bandwidth is central to this subject. Lecture as performance is an effective information dissemination vehicle because it is so high bandwidth: it combines the visual, aural, gestural, and sometimes tactile and even olfactory senses.

Last year’s curatorial inquiry on the subject at the Museum of Contemporary Art in Belgrade asks “is contemporary art a product of fascination with aesthetic objects or a space of knowledge production?” The most successful art created these days falls into the latter category. It is art that engages the audience in confronting real changes happing in the current world. Contextual Art, as described by Jan Swidzinsky is a particularly attractive approach when presenting to a scientifically minded audience because Contextual Art accepts both art and science as disciplines capable of responding the rapid changes of our technologically accelerated world. From this angle, Lecture as Performance is a post-modern practice because of its emphasis on the communication of information through the melding of pedagogic as well as theatrical approaches (and sits in opposition to Modern Art as art for art’s sake).

Joseph Beuys, who is one of the originators of the Lecture as Performance form (stemming from his ‘Social Sculptures’) wrote that “The most important discussion is epistemological in character”. This is especially true now in our economy of abundance where there is more media being produced than anyone can possibly consume. When the information about our world comes to us in such a fragmented state, from so many different ‘news’ outlets, and filtered by so many layers of special interests, its hard to know what is true and what is bent. Epistemology helps us answer how we know what we know, and Lecture as Performance is an artistic approach to investigating these questions.

Walt Whitman, late in life, lamented that he didn’t tour and read his poetry to the masses to increase his audience. Plenty of examples of artists and scientists disseminating ideas through Lecture as Performance hang in our collective memory. From Tesla’s highly influential demonstrations of radio to Nabokov’s lecture tours through the United States to Laurie Santos’s insightful TED talk on the “monkey economy” and human irrationality we learn of key ideas right from the horse’s mouth. Despite the continuously increasing complexity of the world around us, the old adage of ‘if you can explain it to a 4 year old, you really understand it’ is more true than ever. Lecture as Performance is that ultra-high bandwidth communication channel on which the most relevant truths of today can set sail, powered by nothing more than a person’s breath.

Through the combination of my creative practice and access to the latest cv research (in the form of Yogesh Girdhar’s software) I am able to devise artistic experiments and achieve insight. Through creative application of this research to solve the problems of our economy of abundance we can open new engagements between Art and Science. The impact of Temporal Semantic Compression on Culture will be determined with time and experimenation, and I’m excited to bring the latest insights to interested audiences. The poetic engagements with Art History and Philosophy are more illuminating to the scientific crowd, while explaining the science behind the software is more enlightening to the art audience. The presentation remains accessible for even the most general audience, who is often interested in these subjects and the impact of new technology on their life.

The lecture performance at McGill went really well and I would like to thank Yogesh Girdhar and Gregory Dudek once again for inviting me there. One excellent criticism of the talk was that I didn’t take the opportunity to delve into Lecture as Performance itself: I stayed in character during the question/answer session and didn’t step up to the meta-level. From the Lecture as Performances that I’ve seen personally, it doesn’t seem common for the performer to break out of character during the lecture or even the question/answer portion (if there even is one). One reason this is unclear to me is because the lecture performance itself is not an act: it is honest expression of subjective and objective truths. Thanks to everyone for coming out and being part of the event and I look forward to the next one.

I wrote this song in Syracuse as an homage to New Jersey.
Bridges and Tunnels – d2m1