Tetris on Office Towers : Falk Interview

City towers seem to have a certain resonance these days, which was nicely tapped into by a German project ( www.blinkenlights.de/arcade/live.en.html ) which allowed all the window lights of an office block to be controlled by mobile fones to play tetris or by Berlin VJ Falk, who drowned the building in animation. He speaks here:

How did the Blinkenlights project come about?
Blinkenlights was first put into action in Berlin last year. The German Chaos Computer Club (www.ccc.de) was celebrating its 20th anniversary and thought it’d be cool to light up the windows in of a large building to show their logo. Hacking together the soft and hardware the CCC managed to turn a house in the middle of the city – into a huge computer screen sporting 18 by 8 pixels. The computer used was a pre pentium (I think 386) running Linux online. The lights were cheap construction work lamps and the windows were painted white. 5000 meter cables running all over and glued together.

The second Blinkenlights incarnation in Paris had more windows so the resolution was increased to 26×20, and the addition of grayscale. We now had eight scales of gray, which made the animations smoother and better looking overall. The installation was dubbed ARCADE as it was pretty close in resolution and possibility to the early arcade computer games. What you had in the end was a HUGE very low-res grayscale computer screen.

What was your involvement?
When I saw the first Blinkenlights in Berlin I thought it was perfect for my live video installations and performances. I filmed most of the beautiful animations, later resampling and blending them into my own art. I’d had a long time involvement with the CCC, and showed my Blinkenlights VJ set at last years Congress. The Blinkenlights crew liked it a lot and invited me to do a special Set at the Blinkenlights Berlin Switch-Off Party. Then we came up with the idea of doing a live VJ set on the Blinkenlights Paris installation. My VJ set coupled with an audio reactive levelmeter was targeted to be the high point of the 10 day installation in Paris.

How were people able to get involved online?
People could download a little program called Arcadepaint (the Berlin version was called blinkenpaint) to create animations. Over 600 were emailed in to the Blinkenlights team. You could also stand where you could see the house, and dial up a french phone number and play 4 popular games on the house: Tetris (the number one favorite of the crowd), Breakout, Pong and a lite version of Pacman with one level. Coders could program their own games and features through an open source application interface. An application of this was the audio reactive level meter also showcased on the final night. For viewers there was a high quality live stream the whole 10 days.

How did it actually turn out on the night?
🙂 The installation itself was very nice. I was first put live on the house it all looked much better then expected. Thanks to Sven from the open source Gimp project there was a special Linux MPlayer Blinkenlights plug.in that could convert any live video input to the special Blinkenlightsformat. I had the big limitation that the resolution and the 8 shades of gray made most of my video clips look like random pixels. Only the clips with a lot contrast worked. There was also no way to layer video as this just created a random pixels mess. The house sported 25 frames per second and synchronizing a whole house big video screen to music made a very very big affect on the crowd and myself. As a VJ you can’t ask for more than playing on 3370m2 screen – its world record 🙂 We all are very motivated now – we call it: THE BLINKENLIGHTS EFFECT.

What got the biggest crowd response?
The interactive games! People where playing tetris all night through. The sent in animations that where funny or 3d rotating objects like the ones send in by Australian by the name “spin by ben” – worked very well and where most liked by the crew. I think the dancing people and clear typography effects worked best on the house, and the pure synching with the music made the biggest impression. It has a big impact if you turn on and off a whole house to the beat of very good techno music. It feels a little like making the whole city dance 🙂

What other projects are you working on?
We now start work on the Blinkenlights:Arcade documentation video and DVD. I am planning a next generation club near Berlin, and of course video is at the forefront of the club and there is also a lightweight Blinkenlights version in the thoughts. Together with the worldwide Aveja Video Collective (www.aveja.net) we are planning to release a VJ DVD.
hack the planet // fALk – http://www.prototypen.com/blog/falk/ //

by Sean Healy, October 8, 2002 1 Comment

Book Review: Future Active – Media Activism and the Internet

Future Active: Media Activism and the Internet
by Graham Meikle, Pluto Press, 2002.

Book Review by Jean Poole ( first published for Real Time magazine, Australia )

I like the internet. I think Graham likes it too, perhaps for similar reasons: we can explore our favourite mudwrestling webcam sites, meet other fans, keep in touch. Graham’s position as an author and mine as a reviewer, also imply a healthy respect for the expanded research methods the net allows, the online communities we can be part of, the e-mailing of stories at the last minute. This shared respect, I suspect, finds us both very curious about how the wrestling of public and private interests will shape the internets development.

Imagining Grahams desk
Pens, paper, a compaq (?) laptop, dictionary, thesaurus and a gleaming crystal ball sitting to one side into which Graham gazes periodically with an optimistic pragmatism, rather than tech-utopian drool. Above the desk a mirror – reflecting bookshelves creak-heavy with politics, postmodernism and the entire cyberculture canon. And a good deal of print-outs, because net-dissectors still like to underline words with a pen. From this very desk, Graham has conveniently chronicled the most famous political uses of the net in recent years, pored over interviews with many key outspoken online activists and authors, grouped the different shapes of net activism into useful categories, and offered some perspectives on ways the internet may continue to be developed in an open form. I’m thinking it’s a nice old wood.

Imagining Graham’s Internet
Some of its key features include openness, resource sharing, communication, conversation and collaboration. While these are features celebrated by the early digerati such as Howard Rheingold and John Barlow, Graham is careful to debunk ‘cyberhype’ during a quick tour of the net’s early years and evangelists. He maybe spends a little too much time translating the hyperbole around the net as ‘market boosterism’, but is sharper in critiquing ‘interactivity’. Usefully, he outlines transmissional, registrational, consultational and conversational forms of interactivity, and proposes that Tim Berners Lee’s ‘intercreativity – solving problems together’ as a better challenge to aspire to. Throughout the book, an open, conversational, intercreative internet is described as a Version 1.0 internet. A Version 2.0 internet, Graham proposes, is one where we move to the closed system preferred by entrenched corporate interests, a broadcast rather than many to many model. By the way the book is riddled with characters doing their utmost to steer us away from a version 2.0 internet, I fancy Graham’s down with numero uno.

Some of The Riddlers

An English couple being taken to court by McDonalds, launched the mcspotlight.org website in 1996. Being dragged through the British legal system for distributing a critiquing pamphlet, they found with the website a way to match their wits rather than budget with the legal muscle of a multinational food giant. In subsequent years, millions of visitors viewed the original pamphlet and much supporting material, but as Graham reveals, it was the astute site development and understanding of online community and information navigation which made mcspotlight one of the more successful online political campaigns.

Future Active similarly traces many popular political campaigns such as the B92 radio station’s celebrated use of online radio to spread news during the Bosnian war. Much of the work is in documenting what happened as events unfolded and how the net was used, but this is supplemented with plenty of insightful quotes from both campaign organisers and relevant theorists. Graham diverges from the media theory pack a little though, by exploring ways some nastier groups have used the net.

Web Nasties
While Graham’s careful to point out he doesn’t endorse, merely analyses the net strategies of – deathnet, godhatesfags.com and the North American Man Boy Love Association, I don’t understand why he didn’t use the same sort of caution in detailing his flirtations with the Labor Party, Liberal Party and One Nation websites. To his credit, he thoroughly exposes the major parties’ lack of engagement with their constituents online, speculating that it’s not that the major parties don’t get it – but that they don’t want it. Prefer they, the broadcast or version 2 model rather than a community based model with lack of hierarchy or control. In contrast the web-Hansonites are shown to have embraced and harnessed the qualities of the internet effectively. Although One Nation sitemaster Scott Balson’s claim that ‘Hanson was the first cyber-politician on the internet’, is slightly dubious, their integration of e-mail lists and bulletin boards was apparently commendable.

Other Commendables
Veering into newer political territory, one of the book’s better sections links together the ‘free software’ movement, the growth of the indymedia online publishing centres, globalisation, and the role of two Sydneysiders in making this happen – Matthew Arnison on code and Gabrielle Kuiper. The free software and open publishing movements are becoming increasingly influential in many spheres and their development is well described here. With his encouraging tone and enthusiasm for the topic however, some chances for exploring the issues and difficulties currently being experienced by open publishers have been missed. This is my only problem too with the near closing pieces on ‘culture jamming’ and ‘tactical media’ . Fantastic coverage of interesting projects, people and events online, but scarcer on the ground critiquing the limitations of their approaches.

The book for you?
Depends. Maybe you’re a sociology, communications, cultural studies, art or media theory student looking for a good, brisk overview of recent online skirmishes, blossomings, battles? Perhaps you’re interested in understanding more about our transforming society and ways the net is being tactically used? Maybe you don’t share the same bookmarks as frequent indymedia visitors, or the ‘nettime’ / ‘fibre culture’ / ‘rhizome’ etc mailing list members?

For me?
I liked it, although much of the terrain was already familiar. Wished occasionally for more criticisms of people being celebrated, but admired the collation, the crisp, want-to-communicate tone. A broader ‘media activism and the internet’ might have covered more artistic strategies online, mp3s and more software development. Like Naomi Klein’s ‘No Logo’, this is a fine book which may end up being in the right place at the right time.

by Sean Healy, October 3, 2002 0 comments

Boing Boing Interview with Mark Frauenfelder

On the back of a motorbike, cliffside minus a helmet, you can’t help but imagine how your head would split like a watermelon were you to bounce off. Presumably, Mark Frauenfelder’s ukulelia fetish has never found him wearing a helmet either. Still, this hasn’t stopped him plucking away in Los Angeles, at one of the most popular blogs, co-editing The Happy Mutant Handbook and being the founding editor-in-chief of Wired Online. You can discover more about ukelelias, Mark’s illustrations and daily updates of tech-pop weirdness at boingboing.net. Here’s the boy himself:

If the Boing Boing zine and blog were TV characters, who’d they be, and how’d they get on?
The zine would be Jethro Bodine of “The Beverly Hillbillies” — curious, neophilic, xenophilic, gleeful, and eager to adopt any new theory or conspiracy as the absolute truth. The Blog would be Sherman from “Peabody’s Improbable History” — a traveler of time and space in search of beauty, truth, and the outre. I think Jethro bOING bOING and Sherman Boing Boing would be great pals. Jethro would invite Sherman’s dog, Mr. Peabody, to go raccoon hunting with him, and Sherman would send Jethro 40 years into the future to hang out at the Playboy Mansion.

How many hours do you average online, and in what ways?
About 8. I write and draw on my computer and take a lot of breaks looking at things on the Web.

How has the web surprised you lately?
I’m surprised that most people don’t think it is a marvellous as I do.

As one of the most popular bloggers, your thoughts on online micropayments?
I’m more in favor of macropayments, made directly to my bank account. Really, I wish someone would figure out a good way to make them work.

What were they putting in the water at Wired magazine in the early 90s, and what happened to it?

The water was unadulterated, but pot brownies were usually available on Friday afternoons. The accountants handed out acid and ecstasy like candy. I stayed away from it, because reality was weird enough for me. When Louis and Jane owned Wired it was a magical place and a magical time. A rare era. Then, Wired was sold to Conde Nast. It became a business. I don’t think acid head accountants would last long around there today.

What’s with the ukulelia fetish? 😉

The ukulelia is the PDA of guitars. It’s portable and sweet sounding. It’s easy to learn to play songs right as soon as you pick it up, but it takes a lifetime to master.

And now that a few years have passed – what’d you really think of Billy Idol’s Cyberpunk album? (noticed you did the CD artwork )
I like it!

by Sean Healy, September 26, 2002 0 comments

Toy Death Interview

The vast possibilities of music, Example 1: Frontside 5-0 grind on the steps of a gargantuan Mozart statue in Vienna. Wolfgang Amadeus looking down at a fallen skater soaking music thru a scraped shin. Sharp pain soothed by a passing, distorted ice cream van, the sort of moment from which operas are born. Example 2: Sydney’s toy thrashin’ trio of romper room ravers. Romper stompers, even. You can visit them here: www.dirtymouse.net/toydeath Or catch them during the www.thisisnotart.org bonanza in Newcastle, Oct 2-7.

What was the spark that started Toy Death?
Coming across a little guitar called a Microjammer in Canberra Target. It had such an amazing sound that we just had to make music from it. We are always inspired by the toys turning up in the shops.

How does the songwriting work 4u ?
The three of us sit down with our toybox full of toys and we just start combining different toys until we find a particular sound or strike a great combination! We then arrange the song and write it down
(otherwise we forget!) and work out some silly choreography.

Ever play with / to very young kids? Reactionz?
We played a gig at a primary School in Utrecht in Holland. It was a Daytime treat to school for disadvantaged and at risk kids and we had to not use any of our gunz and cut out all the sexy stuff. They were transfixed by us! At one stage I had to wrestle my twin neck guitar from the clutches of about 5 kids in the front row. At the end of the gig the teacher said they could now play with the toys and there was a stampede. It was mayhem! a bit like Beatlemania but with 8 year olds. They went nuts playing the toys, all of which were still plugged in!

Fave gig moment(z)?
The Utrecht gig was a wild one but we have had so many. In Munster (Germany)we played on the back of a truck at an outdoor festival. Lights started falling over as we all jump up and down at one point!. We forgot to save an encore and were mobbed in our dressing room by people begging for more. One guy got down on his knees! We also played a gig supporting Killing Heidi at Penrith Panthers and got boo’ed offstage! We launched our 7′ at a game arcade so people could play the games for free while we did our set.

Any particular fun toyz u fond of @ the moment?
I’m still in love with my Kawasaki twin neck guitar! All the ‘circuit bent’ toys are really kickin’ and its adding a whole new dimension to our sound. We brought back a Dutch telephone toy from Amsterdam that is just a crazy machine.

Who stars in toy death the movie, and what genre is it?
I definitely think that it would be Manga, a cross between AstroBoy And Vampire Hunter B. Starring voices? either the original Marine Boy cast or Allan Fels, Ita Buttrose and Tom Hanks as SuperTalk Barbie.

Toydeath unplugged =?
I don’t think that it would work, some toys are just too quiet. More likely to see us Un-Masked although I think that it really was a bad move for Kiss so learn from history. Maybe we play semi-acoustic style all casual like sitting down being very sensitive…..

Future planz?
Keep on having fun and finding great new toys! Time for a film clip set in a dolls house and maybe our next release will be a game or CD-rom thingy. Do some more exciting gigs in unusual venues! Next gig in Sydney. November 17th at Brett Whitely Gallery. GO TO JAPAN!!!!!!!!!!!!!!!!!

by Sean Healy, September 17, 2002 0 comments

Berlin Vidi-yo Beasties

Ain’t nothin quite like an ollie to nose-grind on a piece of the old Berlin wall. Scratchin that forwards and backwards and inside-out, is John De Kron, bringing his vidi-yo wizardry to electrofringe shortly.

What’d u learn from studying the vidi-yo aesthetics of 60s und early 90s?
Not to forget the 70s! and the 80s where video really started. Feedback and kaleidoscope effects that were applied back then (mostly by some odd technicians) to tube camera feeds transported the feeling of a generation on the black and white tv set in my parents living room. In the 90s I studied at a “media academy” where they’d gathered all that out of use stuff from several video studios. We could play around with U-Matic equipment, humongous video mixing desks, teleprompters, intercom and so on. I still prefer that blurred tube aesthetics to contemporary digital exactness.

And what’ll Vidi-yo in 2010 be like?
All the hip VJs born in the early 90s gather in front of their favorite VJ merchandiser in order to grab one of the first new released materials of that strange guy- John deKron. O.k., he is pretty old but his clips are out of sight. They’re sampled in night theatres all over the hemisphere. And the audience just loves the neotechno style of this North Korean VJ. He has a very rare collection of clips and combines them with his video suit in a virtuous way. I attended one of his last years shows and even the security guys started to cry. But then he performed the climax… You just got to experience that yourself. And tomorrow we will go to a movie theatre.

What interests you about real-time vidi-yo at the moment?
I consider most interesting an effective interface that offers instant and intuitive control on the performance. The result may be something totally different to conventional media like music video clips, and the challenge is to explore the possibilities of these new tools. In today’s realtime video, the language of the media is far from being discovered. It’s similar to the early days of film when it was used to frighten people by showing trains approaching the screen. After twenty years the first attempts appeared with close ups and cuts to tell a story with those tools. And it totally differed from just filming theatre. Maybe the filming of theatre acts is similar to the state where realtime video is now – many shows try to resemble pre-fabbed music video clips.

Searching for possibilities of live video me and some other vjs perform alongside to the same music. We call it the “Videokonferenz”- where the videos communicate with each other. We and the audience can compare different styles and content. Simultaneous performances allow comparison, and coincidences and mistakes happen – intentionally and by accident, which brings new ideas and develops the whole thing.

Cool features of your to-be-released video software?
The ES_5 is a software video mixer that routes 2 sources (video clips, live input or generated graphics) on 2 effect tracks, mixes them, applies more effects if desired and outputs the result to a screen. It’s more designed for longer sequences than short loops. With an attached midi keyboard and a faderbox the ES_5 can be played like a music instrument rather than a piece of software. It’s the excerpt of three years of live performance with all kinds of different concepts for the “best” way to show some moving images. ES_5 has proven to be very usable, stable and fast, so the user may focus on content and not on technology.

>> X-plain the “dirty pot” project? What motivated this?
Computer buttons and faders offer 2dimensional on/off and numeric controls only. I was looking for a more organic interface than that. In the “dirty pot” project the performer has several balls with different colours that may be moved in pots of different shapes. The balls represent video clips and the way they are moved in the pots determines how the videos are screened. By moving the pots the balls are kept in motion(or not). Different regions of the pots define different behaviors. The performance becomes more fluid than possible by pressing buttons. Some of the pots are not totally clean (dried cereals are still in there), which gives a chaotic component. The balls jump over the cereals and you don’t know what will happen. But with some exercise you can use the cereals pretty well. The computer rests under the table and doesn’t bother you. See www.videokonferenz-berlin.de/dirtypot

Good/bad in the Berlin arts scene?

The worst thing in the Berlin art scene at the moment is that the city totally ran out of money. Money for cultural projects is totally cut. Who needs culture in hard times?

John De Kron will demo his software and Berlin pixxxels @ Electrofringe 2002 between oct 2-7 in downtown Newcastle. Also chek johnnyweb: www.thisserver.de

by Sean Healy, September 9, 2002 2 Comments