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Re: Real-time file access and organization -
You know, Alan, I have been having this same issue with my sound work and how much raw material I have created. Once upon a time it was all on tape (and I still have at least 150+ hours of recording on tape), but I've been recording digitally since around 2004 or so and I find that the sheer number of files becomes completely unmanageble. I have tried different naming conventions and that process failed miserably for me. There's never enough in the name to really convey what is contained within. So for the past 2-3 years, I have been going with nothing but TIMESTAMPS. Each file is named after the Year/Month/Date/Time that it was created. My recording software does this automatically, so it's easy, and having a stamped time on the file makes it much easier when I come to questions like, What was that recording I did right around Halloween of 2005? It's more useful for me than any other way, and it helps maintain a chronological record. Not sure if that would be a viable naming convention for you and your working processes, but it's the only way that seems to work for me. Chris On Sat, 10 Feb 2007, Alan Sondheim wrote: Real-time file access and organization - Here is the problem, as anyone following my work can attest - there's too much of it. I'll be at the Openport festival in Chicago the end of the month, doing a symposium, talk, two performances. So I'm attempting to organize files for the last, and it's difficult. I narrowed the video/ audio work to 900 files - and these are edited from the mass of my video/ audio work in general, running I think around 2500. I've placed the files in two folders, Performance 1 / 2. The names (titles) of the files convey nothing. I'm still naming from the film years when one produced pieces with such. So there are 900 names, and I forget what most of these things are. It's not even easy to tell by extension - there are sound files for example ending as .mp4, and some of the .mov are set for no framework and loop; these are most often converted .mp4 in disguise. The problem with .mp4 in performance - the compression uses a lot of CPU cycles; the result is that it's actually more difficult to run a number of parallel .mp4 files (which are quite small) than to run the same from the original very large .mov or .avi files. Thumbnails won't do - they would be too difficult to manage, would clutter up the screen, wouldn't handle audio. I think of code - G for Geneva, D for dance, GG for Gruyere, GA for Aletsch glacier work - but then the individual pieces are still left behind. I've tried brief 2-3 word descriptions in the titles, but that doesn't seem to help; there are variations, some of the work is indescribable in terms of a few words, and so forth. In any case, the directories have to be on the screen when I'm performing - that's the whole point of it - the ability to choose video/ audio on the fly. I'm not sure where to take this - memorizing indices, mnemonics ... The total number of still images that I work with (i.e. not family) is about 1. The total of everything is probably around 14000. I swim in these. I need a directory structure for everything, coupled with a search engine; I need keywords and a way to delimit and present files during performance; I need a system which is easily understandable on the fly. I'm speaking of approximately 200 gigabytes of material here. I've been sitting going through file after file; it's a real impossibility! If the equipment holds up (I've been having difficulties with Quicktime retaining its preferences which are critical), things should run smoothly - they'll be more out of control than ever, the semantics of the perform- ance trying to keep up. But the presentation will, internally, be somewhat scattershot. I work with laser scan, motion capture, dancers, mappings and remappings of the human body, landscape, very low frequency and shortwave radio, filtered and unfiltered recordings of various musical instruments, images from the problematic of 'wilderness,' video and audio bounced and transformed across the country, material from Second Life performance, materials from programs like Netstumbler (tracking wireless), modified travel footage, local histories and architectures of early mass transit, sexuality, the 'edges' of languages, choreographies, interactivities, codework and codework software, Mathematica, and video/audio noise across the Net, offline as well. All of these areas are subsetted; they spread like tentacles across my workspace, (in)(co)herent, lost and found; now when I perform, I'm part audience, seeing the (re)presentation for the first time, trying more desperately than ever to hold everything together. This is a world of the forgotten, unorganized in relation to 'the clean and proper body,' inert to deconstruction (which is collapsed by error, circles of confusion, exhaustion, loss), open to Levinas' existence and existents. Never do I
on not publishing the 'itinerant' poets of guantanamo bay
the pentagon arguing that poetry 'presents a special risk' to national security because of its 'content and format'.
Re: Who has Wryting hooked up to Blogger, and Why do we get the Error mails?
JUMP THE GUN -- an expression about 50 years old that derives from both foot racing and hunting. An anxious runner often jumps the gun, that is, starts before the starter fires his pistol in a track event, and a startled pheasant will frequently take flight before a hunter can fire his gun, both situations responsible for our figurative use of the phrase-- to begin something before preparations for it are complete. From The Encyclopedia of Word and Phrase Origins by Robert Hendrickson, Page 285, (Facts on File, New York, 1997). On Thu, 7 Dec 2006, Alan Sondheim wrote: By the way, where does jumping the gun come from?
Re: On the disaster of the future planet now
On Nov 25, 2006, at 3:00 PM, Eric Yost wrote: it's not only over-population; it's also the gluttony of energy absorption that's occurring worldwide. oh, you mean knowledge? which is why, of course the future is never how we imagine it.
i'm jealous
Malaysia to Levy Fines for Poor Speech By THE ASSOCIATED PRESS Filed at 7:52 a.m. ET KUALA LUMPUR, Malaysia (AP) -- Malaysia will levy fines on those incorrectly using the national language, and will set up a specialized division to weed out offenders who mix Malay with English, news reports said Thursday. Culture, Arts and Heritage Minister Rais Yatim said fines of up to 1,000 ringgit ($271) can be imposed on displays with any wrong or mutated form of Malay, the Star newspaper reported. The move was to ensure ''the national language was not sidelined in any way,'' Rais said, according to The Star. Fines will be imposed after a first warning, the national news agency Bernama quoted Rais as saying.
Robert Anton Wilson Needs Our Help. (fwd)
I just received this email from James Koehnline and thought that people here on the wryting list might want to know about this... -- Forwarded message -- Date: Tue, 3 Oct 2006 11:15:04 -0700 From: James Koehnline [EMAIL PROTECTED] To: undisclosed-recipients: ; Subject: Robert Anton Wilson Needs Our Help. It has come to my attention that Robert Anton Wilson is dying of post- polio syndrome and is broke. He can use any help he can get, to enable him to die peacefully at home. See details here: http:// www.boingboing.net/2006/10/02/robert_anton_wilson_.html I read RAW's Cosmic Trigger and Illuminatus Trilogy in 1977, and they launched me in a number of directions that have had a large effect on my life. I saw him speak several times, corresponded with him in the 90's and once had lunch with him and Hakim Bey. I think he's a great guy, and a wonderful writer, philosopher, guru and wit. It is hard to think of him unable to pay his rent. As usual, I'm broke, too, but I'll dig up some collectible ephemera or some artwork to auction on his behalf, and spread the word as best I can. If his work has touched you, consider doing what you can. If you don't know his work, find some and read it.
Re: Burmese?
(i mentioned hiac coz they had the only burm library that i've seen here. and as there has been a whole bunch of manuscript trading for guns in the last years (with canada as i understand being the major recipient) and hiac had of course some dark political corners ..
Re: Burmese?
the manuscripts for guns trade? apparently one of the more successful ways of funding the shan etcet independence and opposition movements. hiac presumeably has the same bankers as the summer institute.. On Sep 28, 2006, at 10:35 AM, Alan Sondheim wrote: Can you elaborate on this? I'm not sure I understand - thanks, Alan On Thu, 28 Sep 2006, chris mann wrote: (i mentioned hiac coz they had the only burm library that i've seen here. and as there has been a whole bunch of manuscript trading for guns in the last years (with canada as i understand being the major recipient) and hiac had of course some dark political corners .. blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim
Re: Palm Leaf Manuscript - need help identifying
i'd be surprised if its burm. doesnt look round enough to me. but i dont know what shan looks like if it indeed looks different. nor naga. is hiac (?), the himilayan and inner asian whatever still extant? they used to be on barrow street in the west village. On Sep 27, 2006, at 12:01 AM, Alan Sondheim wrote: Palm Leaf Manuscript - need help identifying These are five pages and the cover from a palm-leaf manuscript I have; I've been trying to identify both the language, or at least the script, and the content. The script seems Burmese, but a number of the characters seem different, especially the vertically-doubled ones. I'm totally ignorant in this area; any help would be greatly appreciated. I'm not even sure which way is up, but I think that 22-23 are correct. The manuscript is extremely worn; there are insect holes throughout it, and some of the leaves are falling apart. On the other hand, it's protected now, and won't fall apart. Again, thanks for your help. - Alan http://www.asondheim.org/manu01.jpg http://www.asondheim.org/manu02.jpg http://www.asondheim.org/manu07.jpg http://www.asondheim.org/manu14.jpg http://www.asondheim.org/manu22.jpg http://www.asondheim.org/manu23.jpg
Re: Urban Graffiti
Schmitz Park in (West) Seattle. http://www.seattle.gov/parks/Parkspaces/Schmitz.htm I've seen three different graphic layouts at that site. I like how they keep changing it up. Interesting bit of trivia, the spot right where the red Tibetan demo head is where my friend Mark Monk Hubbard of Grindline fame (http://grindline.com) had originally excavated and rebarred for a small concrete bowl. The city found out about it and shut it down. You can't quite see it at the angle of the picture I've taken. Here are some old pictures I dug up off of my server from when I was running the Grindline.com website: http://trnsnd.net/Schmitz.html On Mon, 25 Sep 2006, Maria Damon wrote: cool! where is it? At 8:27 AM -0700 9/25/06, chris wrote: I really liked this mural I walked past just the other day: http://trnsnd.net/graf.html
Re: open call
best advice i've heard yet! On Mon, 18 Sep 2006, // wrote: just spend a night drinking heavily - Get your email and more, right on the new Yahoo.com
Re: open call
these are all great! thanks everyone for keeping the creative juices flowing! On Mon, 18 Sep 2006, Dirk Vekemans wrote: The Sufficiently Random 'd do nicely, no? Later you could call 'm The Sufficiently Random Plus One Or if someone leaves the band The Insufficiently Random Cheers, dv -Oorspronkelijk bericht- Van: Theory and Writing [mailto:[EMAIL PROTECTED] Namens Talan Memmott Verzonden: maandag 18 september 2006 23:02 Aan: WRYTING-L@LISTSERV.WVU.EDU Onderwerp: Re: open call band names, all former... short order cooks directions gelatin eyelash sneaky cheese procession jaloni handshake raid a.m. kindergarden pinocchio ubu road sloppy kafka peabody jack the ant yoink television astronaut
Re: Building a Database of Women Visual Poets
thalia. maybe of wollongong. On Aug 28, 2006, at 1:31 PM, Sheila Murphy wrote: Good morning, all! Kathy Ernst and I have conferred about upcoming projects regarding the presentation of female visual poets. We are looking to build a database of contact information for women on several continents, so that we may look at what is possible relative to exhibitions (likely, a traveling exhibition initially) and books that would go with same. Specific calls for work will follow, but for now we want to accumulate a who's who compendium. I would appreciate your circulating widely a call for the following information and sending the information to me backchannel at: sheila dot murphy at gmail dot com We mainly want: Name Mailing Address Email Address Any further information about media in which the visual poet works, great, too. If everyone can respond with known individuals, including yourselves, it will be appreciated. The goal is to obtain as comprehensive a list of (1) living women visual poets who have done visual poetry in the latter half of hte 20th Century and (2) women who are actively working in visual poetry now. Definition of visual poetry is deliberately open. Thanks! Sheila Murphy
