December 9th, 2010

Background Noise

Noise and airs are often generally subtle enough in their fluctuations to become imperceptible, defining the background of an environment due their persistence. By virtue of their existence as part of the background of the day to day experience of an environment, they constitute that which a sound or smell must set itself apart from in becoming perceptible or moving to the fore. Both often fall beneath the thresholds of conscious perception, temporarily slipping into imperceptibility, while at the same time defining these thresholds.

Below are some experiments combining background noise and data derived from the quantaties of diverse airs populating the background of our respiratory and olfactory experience.

NormalCloud.mp3
PlagueCloud.aiff (large file).

These are experiments and don’t need to go on for long, so duplicate lines were removed from the log files using the following emacs commands:

C-x h C-u M-x shell-command-on-region RET uniq RET

The SuperCollider code responsible for the sounds above:

 
s=Server.local.boot;
 
s.doWhenBooted({
 
	var average, length, int, subav, duration, value;
 
	f = File("/Users/cl-user/PlagueCloudReduction.txt", "r");
 
	// put the contents of the file into an array, as long as it is not nil:
 
	a = Array.new(f.length);
	f.length.do({ |i|
	v = f.getLine;
	if (v != nil, {
	a.add(v.asInteger); });
	});
 
	// calculate average value of the file (background noise):
 
	average = a.sum/a.size;
	"average : ".post; average.postln;
	f.close; // dispose of exhausted file.
 
	// open anew:
 
	f = File("/Users/cl-user/PlagueCloudReduction.txt", "r");
 
	// get server ready for recording:
 
	s.recSampleFormat_("int16");	// lame has issues with whatever the default settings are
								// so int16 set for easy mp3 encoding.
	s.prepareForRecord;
 
	// buses:
 
	s.sendMsg(\c_set, 100, 20);		// frequency bus
	s.sendMsg(\c_set, 200, 0.01);	// q bus
	s.sendMsg(\c_set, 300, 0.4);	// vol bus
 
	// White Noise through a bandpass filter:
	SynthDef(\bpass, {
		|freq, rq, vol|
		var noise;
		noise = BPF.ar(WhiteNoise.ar(1), freq, rq, vol);
		Out.ar([0,1], GVerb.ar(noise*Formlet.ar(noise, freq, 0.1, 0.2, mul: 0.05), 
			100, 1.2, 0.75, drylevel: 0.5));
	}).send(s);
 
 
	// a line generator to control the freq, q and volume of the above synth:
	SynthDef(\line, { 
		|outbus, end, dur|
		Out.kr(outbus, XLine.kr(In.kr(outbus), end, dur, doneAction:2));
	}).send(s);
 
	// Start the synth:
	s.sendBundle(nil, [\s_new, \bpass, x = s.nextNodeID, 0, 1],[\n_map, x, \freq, 100, \rq, 200, 	\vol, 300]);
 
	// start recording:
 
	s.record;
 
// send values derived from log file to synths:
 
Routine.new ({
 
// use the length of the array that the log values are stored in to determine length of the loop:
 
	a.size.do({ 
 
		int = f.getLine.asInteger;
		duration = int / 100;
		value = ((int)**((int)/int));
 
		s.sendBundle(0.3, 
 
			[\s_new, \line, s.nextNodeID, 0,1, \outbus, 100, \end, value, \dur, duration],
			[\s_new, \line, s.nextNodeID, 0,1, \outbus, 200, \end, int/120000, \dur, duration], 
			[\s_new, \line, s.nextNodeID, 0,1, \outbus, 300, \end, int/30, \dur, duration]
 
		);
 
		duration.wait;
 
	}); // end loop
 
	f.close; 			// close the log file
	5.wait;			// wait five seconds
	s.stopRecording;	// stop recording
	//s.quit;			// kill server
 
}).play; // end routine
 
}); // end when booted..
December 8th, 2010

Atmospheric Proxemics

Some notes on the broader concerns of the invisible cartographies project:

There are two sides to the invisible dynamics of the landscape revealed by this project. The first presents these dynamisms as components or qualities of the landscape as an objective reality, as fluctuations that are part of the landscape itself and not simply perceived fluctuations or subjective variations determined as such according to given thresholds of perception. The second is not wholly separate but certainly different in that it is focussed upon these same fluctuations as they occur within the proximity of a human body. This latter point refers to the data gathered by the mobile or bluetooth canaries which log fluctuations in localised atmospherics against latitude and longitude, fluctuations occurring around the human carrying the device and therefore charting an atmosphere to which the carrier or walker contributes through their breathing or other gaseous expulsions.

Proxemics

The above image is an attempt to show the second of the two orientations mentioned above. The faint green line shows a walk around Ulverston, the centre of each circle indicates a point on the walk at which a sample of the air was taken. The varying diameter of the circles shows fluctuations in air quality. This seems like a particularly suitable way of expressing a kind of gaseous proxemics visually. Proxemics is a term taken from the work of Edward T. Hall. Proxemics can be thought of as the study of personal space, but more precisely it’s socio-cultural or broadly contextual flexibility. A proxemic boundary can be considered broken when another person stands too close. Anyone with a sibling has surely unknowingly experimented with proxemics on long car journeys as a family: one child puts a hand close to the body of the other while claiming that they’re “not doing anything” as their is no physical contact being made. The other child calls out to the parent that their brother/sister is “in my space”, the limit of this space being perceived to be highly ambiguous and often getting little support from the parents. The proximity of the hand to the body of the brother or sister is, however, certain to annoy due to proxemic or personal space being transgressed. While from the outside, or the front of the car the boundaries of the spaces between kids in the back are hard to determine, the kids know precisely where they lie and how to manipulate them. This is of course a really simple example of the complex components and contextual determinants of personal space, which Hall describes in more detail (see The Hidden Dimension). Of particular interest to my own work is Hall’s discussion of auditory and olfactory proxemics, or the contribution of sound and smell to the determination of personal space. The work I’m doing as part of this residency can’t really be considered proxemic research as proxemics are always concerned with the thresholds of interpersonal space, and much of the work I’m doing involves walking alone or in small groups with the focus being placed upon the material composition of an invisible space rather than the interpersonally determined thresholds of personal space, invisible or otherwise. The reason for bringing this up here is that the work being done in mapping atmospheres that circle the body can perhaps be thought of as impersonal proxemics, insofar as it is concerned with the particular elements that contribute to a personal atmosphere that circles individuals and constitutes an ambiguous boundary. While this is less about interpersonal space, this is due to the fact that it is more concerned with how impersonal and inhuman elements nonetheless contribute to what we think of the personal or the space of the self.

Diffuse Bodies

This project is orientated around the diffuse interactions of bodies, human bodies, bodies of air, micro and macroscopic bodies; it busies itself charting the spatio-temporal contingencies of the confused and corpuscular space of which the self is composed. The human as one such body appears in this schema as being composed of―as well as constantly decomposing into―a corpuscular space or atmosphere that both surrounds and permeates individual, proxemic territories. This project approaches the self in terms of a corpuscular space that determines its proxemic territory, the self and not just the body, as this would be both too simple and reductive as the body is clearly observed as being composed of a number of potentially autonomous units. Perhaps there is a tendency to think of the self as a more unitary and unified mode of existence, such as where we write “I” but could just as easily read this symbol numerically as 1. The self thought as diffuse and dependent upon a corpuscular space is thought in a manner more thoroughly confused with a wider environment or atmosphere upon which it depends and with which it is enmeshed. In this model the self is thought as the composition of every element comprising the confusion of body, soul and ecological atmosphere.

The Particular Importance of the Invisible and Corpuscular

Foregrounding the invisible movements, interactions and constitutive contingencies of that which is apparently solid and stable serves to alter and embed a critical function within those thresholds of perception that are allowed to contribute to ontological determination where we hold too strongly to empiricism. We currently face catastrophe, and a factor contributing to the denial of our own implication within this calamitous future is the common ease with which stability and solidity are taken as the chief characteristics of reality, as it is perceived by the eye, ear, or senses in general. We cannot rely upon that which gives itself to perception, upon that which is easily and readily perceived according to inherent sensory capacities, and so we must forcefully bring to the fore elements and qualities of that which resists, ‘withdraws’, or rather exceeds the possibility of perception according to the thresholds of perception as they are simply given. The example that always springs to mind here is of the enormous problem of plastic in the oceans. I once heard a radio programme where two Women out doing research in the pacific described beautifully clear water on a lovely sunny day. They then went on to talk about how the water for miles around was saturated with microscopic particles of plastic that were clogging the up the bodies of marine life. The visible plastic was less of a problem, but would eventually be broken apart and spread itself over thousands of miles into the guts of thousands of fish, mammals, birds and so on. Where we remain focussed upon an understanding of the environment that relies upon that which is empirically justifiable such problems pass us by. In a similar way we might think of Ruskin’s plague-clouds and ‘calamitous winds’ which can be thought as close relatives of smog. While the smoke and smog of the industrial revolution may have cleared and been sandblasted from the walls of our cities, we now face an invisible yet nonetheless substantive threat in the form of pollution that persists, in part at least, due to its imperceptibility. On the subject of “plague-winds”, “smoke-cloud” and “dense manufacturing mist” Ruskin commented on “the uselessness of observation by instruments, or machines, instead of eyes”. It is this sufficiency of the given thresholds of perception that we must continually move beyond in order to take account of the substantive operations of the invisible and imperceptible, embedding them within our image of reality.

A Technical Note

gnuplot commands for the above plot:

set terminal png
unset tics
unset border
unset key
set output 'proxemic.png'
plot '~/Documents/FLI/Walks/24thNovember/[email protected]' u 2:3:($5/470000) w circles lc rgb "black", \
'~/Documents/FLI/Walks/24thNovember/[email protected]' u 2:3 w lp
December 6th, 2010

Output

Above is evidence of my knitting prowess or lack thereof. This pattern is the simplest possible translation of the data gathered on a walk carried out on 25th November 2010 into simple knitting code. The file generated by the phone used to log the walk was reduced to include only changes up or down in ozone concentrations. Changes in intensity were then condensed but kept in their original order.

+ = k, - = p.

eg:

11.46.00	54.19878602027893	-3.0920612812042236	75.0	364
11.46.02	54.19880211353302	-3.0920612812042236	75.0	364
11.47.08	54.19882893562317	-3.092072010040283	77.0	358
11.47.09	54.198925495147705	-3.0913370847702026	77.0	358
11.47.10	54.198946952819824	-3.091326355934143	80.0	358

… became p6, and so on until I ended up with the following pattern:

k3
p1
k7
p2
k3
p1
k4
p9
k6
p39
k27
p1
k9
p2
k4
p77

Tomorrow I move onto colours.

Ideas on how to integrate the location data with the shifts in airs when creating patterns are warmly received.

December 2nd, 2010

A Mysterious Ravine

A static canary was left in Ford Park to see what invisible and diffuse bodies were passing through it over a 24 hour period (see invisible.folly.co.uk/ford-park/). After 24 hours in the park, here’s the data it gathered on general fluctuations in airquality:

Mostly there are only minor fluctuations, apart from the huge ravine that occurs later in the plot. As the static canary is only a simple device it doesn’t log the time that values are written to its SD card. To figure out the time at which this dip appeared I wrote a small python script:

file = open("~/Documents/FLI/Static_Plots/Ford_Park_Hedge/LOG00129.txt")
i=0
hour = 16
day = 1
for line in file:
	if line == '\n':
		continue
	else:
		i+=1
	if i%60 == 0:
		hour += 1
		if hour%24 == 0:
			day +=1
	print str(day)+"-"+str(hour%24)+"-"+str(i%60)+"\t"+str(line),

hour = 16 because I turned the device on at roughly 16:00 on Tuesday this week. The canary records one value every minute so the rest of the script uses this fact to figure out the approximate time of each plot:

(day-hour-minute value)

2-10-57	414
2-10-58	414
2-10-59	414
2-11-0	413
2-11-1	413
2-11-2	413
2-11-3	412
2-11-4	412
2-11-5	411
2-11-6	410
2-11-7	410
2-11-8	409
2-11-9	408

the output from this shows the dip happening around 11am on Wednesday 1st December. The cause is presently unknown.

November 25th, 2010

Twin Peaks

For getting quick results from the data gathered on walks over the hills of Ulverston I’ve been using gnuplot for some basic visualisations. Once the plots are generated they can be quickly and easily arranged for cross reference using imagemagick. Commands below.

Gnuplot commands for the above:

set terminal png
set output 'layer1.png'
unset tics
unset border
set dgrid3d
 
splot '[email protected]' u 2:3:4 lc rgb "green" w l
set output 'layer2.png'
splot '[email protected]' u 2:3:5 lc rgb "blue" w l 
set output 'layer3.png'
splot '[email protected]' u 2:3:($5-$4) lc rgb "magenta" w l

ImageMagick command to combine into a single file, organized vertically:

convert layer1.png layer2.png layer3.png -append layers.png
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