Monokel & Alpina
WIP: Turns Me On Extended Club
Finally a good day in the studio. Some progress. This isn’t finished, but I guess it’s at 80-85%.
Alan Watts: living in the present
The root of our human frustration and daily anxiety is our tendency to live for the future, which is an abstraction.
What keeps us from happiness is our inability to fully inhabit the present.
The “primary consciousness,” the basic mind which knows reality rather than ideas about it, does not know the future. It lives completely in the present, and perceives nothing more than what is at this moment. The ingenious brain, however, looks at that part of present experience called memory, and by studying it is able to make predictions. These predictions are, relatively, so accurate and reliable (e.g., “everyone will die”) that the future assumes a high degree of reality — so high that the present loses its value.
But the future is still not here, and cannot become a part of experienced reality until it is present. Since what we know of the future is made up of purely abstract and logical elements — inferences, guesses, deductions — it cannot be eaten, felt, smelled, seen, heard, or otherwise enjoyed. To pursue it is to pursue a constantly retreating phantom, and the faster you chase it, the faster it runs ahead. This is why all the affairs of civilization are rushed, why hardly anyone enjoys what he has, and is forever seeking more and more. Happiness, then, will consist, not of solid and substantial realities, but of such abstract and superficial things as promises, hopes, and assurances.
Watts argues that our primary mode of relinquishing presence is by leaving the body and retreating into the mind — that ever-calculating, self-evaluating, seething cauldron of thoughts, predictions, anxieties, judgments, and incessant meta-experiences about experience itself.
Working rightly, the brain is the highest form of “instinctual wisdom.” Thus it should work like the homing instinct of pigeons and the formation of the fetus in the womb — without verbalizing the process or knowing “how” it does it. The self-conscious brain, like the self-conscious heart, is a disorder, and manifests itself in the acute feeling of separation between “I” and my experience. The brain can only assume its proper behavior when consciousness is doing what it is designed for: not writhing and whirling to get out of present experience, but being effortlessly aware of it.
Paradoxically, recognizing that the experience of presence is the only experience is also a reminder that our “I” doesn’t exist beyond this present moment, that there is no permanent, static, and immutable “self” which can grant us any degree of security and certainty for the future — and yet we continue to grasp for precisely that assurance of the future, which remains an abstraction. Our only chance for awakening from this vicious cycle, Watts argues, is bringing full awareness to our present experience — something very different from judging it, evaluating it, or measuring it up against some arbitrary or abstract ideal.
If I want to be secure, that is, protected from the flux of life, I am wanting to be separate from life. Yet it is this very sense of separateness which makes me feel insecure. To be secure means to isolate and fortify the “I,” but it is just the feeling of being an isolated “I” which makes me feel lonely and afraid. In other words, the more security I can get, the more I shall want.
… the desire for security and the feeling of insecurity are the same thing. To hold your breath is to lose your breath.
I can only think seriously of trying to live up to an ideal, to improve myself, if I am split in two pieces. There must be a good “I” who is going to improve the bad “me.” “I,” who has the best intentions, will go to work on wayward “me,” and the tussle between the two will very much stress the difference between them. Consequently “I” will feel more separate than ever, and so merely increase the lonely and cut-off feelings which make “me” behave so badly.
Happiness isn’t a matter of improving our experience, or even merely confronting it, but remaining present with it in the fullest possible sense:
The notion of a separate thinker, of an “I” distinct from the experience, comes from memory and from the rapidity with which thought changes.
When you see clearly that memory is a form of present experience, it will be obvious that trying to separate yourself from this experience is as impossible as trying to make your teeth bite themselves.
The real reason why human life can be so utterly exasperating and frustrating is not because there are facts called death, pain, fear, or hunger. The madness of the thing is that when such facts are present, we circle, buzz, writhe, and whirl, trying to get the “I” out of the experience. We […] try to protect ourselves from life by splitting in two. Sanity, wholeness, and integration lie in the realization that we are not divided, that man and his present experience are one, and that no separate “I” or mind can be found.
via brainpickings
studio and rain
also available at YT: youtu.be/VZveXSDipcw
Milton Glaser
“… the role of design is not to persuade, it’s to inform. I believe that deeply. And that if you try to persuade people to do something that is against their best interest, you’re doing something that is selfish, pigheaded, stupid, and ultimately destructive.”
—
“We must admit that the guiding force is money, profitability, and selfishness—otherwise you couldn’t explain what’s going on in the world. And in an attempt to act against this, you have to feel that you’re in the same boat as everybody else. And people don’t feel that way at the moment. They feel that everyone is in their own boat.”
—
“When you draw something, you have to pay attention to it, and that means you have to be attentive. And being attentive is the only way to understand what is real, because most of us, as you know, walk through life asleep. Drawing is an instrument for changing that state of mind.”
—
“I do have this idea, I really have to say this, that everything is accessible at once. That the entire universe is in everybody’s brain, and there’s nothing we don’t know about everything.”
—
bloomberg.com/news/articles/2016-05-06/milton-glaser-wants-you-to-prove-you-exist
en.wikipedia.org/wiki/Milton_Glaser
Processing & multitouch
I wasn’t supposed to be doing this today, but:
Multitouch support on Linux seems much simpler with a different library than SMT that I was unsuccessfully tryin last year. “Simple Touch” actually “just works” via evdev library. The only thing that was needed was to supply the right event device from /dev/input and also make it readable and writable for normal user.
Find out which event device is your touch screen:
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$ xinput ⎡ Virtual core pointer id=2 [master pointer (3)] ⎜ ↳ Virtual core XTEST pointer id=4 [slave pointer (2)] ⎜ ↳ USB Keyboard id=9 [slave pointer (2)] ⎜ ↳ Kensington Kensington Slimblade Trackball id=10 [slave pointer (2)] ⎜ ↳ Advanced Silicon S.A CoolTouch(TM) System id=11 [slave pointer (2)] ⎣ Virtual core keyboard id=3 [master keyboard (2)] ↳ Virtual core XTEST keyboard id=5 [slave keyboard (3)] ↳ Power Button id=6 [slave keyboard (3)] ↳ Power Button id=7 [slave keyboard (3)] ↳ USB Keyboard id=8 [slave keyboard (3)] |
Above you see that id of the touch-screen is 11. Which means we have to allow access to /dev/input/event11.
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$ sudo chmod 777 /dev/input/event11 |
Alternatively (and perhaps much more reliably) one should check the contents of /dev/input/by-id/
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$ ls -al /dev/input/by-id/ random@zarquon:~$ ll /dev/input/by-id/ usb-04d9_USB_Keyboard-event-kbd -> ../event2 usb-04d9_USB_Keyboard-if02-event-mouse -> ../event3 usb-04d9_USB_Keyboard-if02-mouse -> ../mouse0 usb-Advanced_Silicon_S.A_CoolTouch_TM__System-event-if00 -> ../event5 usb-Kensington_Kensington_Slimblade_Trackball-event-mouse -> ../event4 usb-Kensington_Kensington_Slimblade_Trackball-mouse -> ../mouse1 |
You can see that the touch-screen reports to be device “../event5”.
Simple Touch library is available from the Tools menu in Processing, but also here:
https://github.com/gohai/processing-simpletouch/
In Processing there is couple of examples for Simple Touch library, but the essence for a successful start is
1) list devices
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println("Available input devices:"); String[] devs = SimpleTouch.list(); printArray(devs); |
will output something like
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Available input devices: [0] "event0" [1] "event1" [2] "event10" [3] "event11" [4] "event12" [5] "event13" [6] "event14" [7] "event15" [8] "event16" [9] "event2" [10] "event3" [11] "event4" [12] "event5" [13] "event6" [14] "event7" [15] "event8" [16] "event9" |
Touch-screen (event11) has [3] index, so to open this device you finally use
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touchscreen = new SimpleTouch(this, devs[3]); println("Opened device: " + touchscreen.name()); |
It seems also to be possible to do just this:
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touchscreen = new SimpleTouch(this, "event11"); |
and the following also works:
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touchscreen = new SimpleTouch(this, "by-id/usb-Advanced_Silicon_S.A_CoolTouch_TM__System-event-if00"); |
This opens the door for writing multitouch interfaces in Processing, which however means a lot more work. For now it seems a good way to go with writing control GUI in SuperCollider, but eventually, the Processing possibility seems like very interesting and inviting.
So a final complete working example for my machine is this:
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import gohai.simpletouch.*; SimpleTouch touchscreen; void setup() { fullScreen(); colorMode(HSB, 360, 100, 100); noStroke(); println("Available input devices:"); String[] devs = SimpleTouch.list(); printArray(devs); if (devs.length == 0) { println("No input devices available"); exit(); } touchscreen = new SimpleTouch(this, "by-id/usb-Advanced_Silicon_S.A_CoolTouch_TM__System-event-if00"); println("Opened device: " + touchscreen.name()); } void draw() { background(0); SimpleTouchEvt touches[] = touchscreen.touches(); for (SimpleTouchEvt touch : touches) { // the id value is used to track each touch // we use it to assign a unique color fill((touch.id * 100) % 360, 100, 100); // x and y are values from 0.0 to 1.0 ellipse(width * touch.x, height * touch.y, 100, 100); } } |
timelapse aka speeding up with ffmpeg
These days I’m recording my work in the studio using a timelapse function in my Panasonic TM700 HD camera. So it happened that I forgot to turn on the the function (needs to be turned on everytime you start recording) which usually records one frame every 10 seconds, so I ended up with a “normal” recording and wanted to convert that to what camera usually does. Ffmpeg to the rescue! To do some frame manipulation a video filter “setpts” is what one needs. Gathering knowledge online with help of two pages:
http://blog.grio.com/2012/01/fast-and-slow-motion-video-with-ffmpeg.html
https://trac.ffmpeg.org/wiki/How to speed up / slow down a video
So, supposedly, the right way to change video speed using ffmpeg is by adjusting the “presentation time stamp” (PTS). This adjusts frames’ metadata related to how long each is displayed—exactly what you want.
this is the crucial piece of code that needs to be passed to ffmpeg:
-filter:v "setpts=2.0*PTS"
Or a more practical example using fraction – if original framerate is 25 frames per second I only need evert 250th one:
$ ffmpeg -i INPUTFILE.mkv -filter:v "setpts=(1/250)*PTS" OUTPUTFILE.mkv
My final conversion was from full-HD .mts to 720p .webm and to mp4:
$ ffmpeg -i INPUT.mts -filter:v "setpts=(1/250)*PTS" -s 1280x720 -c:v libvpx -crf 5 -b:v 8M -an OUTPUT.webm
$ ffmpeg -i INPUT.mts -filter:v "setpts=(1/250)*PTS" -s 1280x720 -c:v libx264 -preset slow -crf 10 -an OUTPUT.mp4
studio video diary timelapse 8. May, 2016
A simple timelapse from yesterday’s work. It didn’t went smoothly, so you can see some Renoise audio work (Turns Me On alternative dub edit) but also other posting, mobile checking and typing stuff. What’s nice is the attached wide-angle lens which comes from an old DV cam and is taped on my Panasonic TM700 HD cam.
switching caps-lock key into control key
There are couple of ways how to make your caps-lock key into control key. For some of use keyboard-shortcuts nerds keyboard usage optimisation is quite an important topic. One of useful things is to move (or rather add) a control (CTRL) key to the place where (rarely used) CAPS LOCK key is. This is especially usefull if one work in EMACS a lot. So, obviously emacs-wiki is a good source for various ways how to achieve that. See https://www.emacswiki.org/emacs/MovingTheCtrlKey for more. But specificaly in my case I used the following recipe for Debian and derivatives:
To make Caps Lock another Ctrl key, edit the file /etc/default/keyboard and change the line which reads
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XKBOPTIONS="" |
to
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XKBOPTIONS="ctrl:nocaps" # Some people prefer "ctrl:swapcaps" |
and then run:
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$ sudo dpkg-reconfigure -phigh console-setup |
Changes take effect on next login and seem to perpetuate across virtual terminals and X session.
Herman Kolgen
HERMAN KOLGEN-SEISMIK-perfo extracts from Herman Kolgen on Vimeo.
-> Herman_Kolgen_Seismik_perfo_extracts.mp4
AN ACCLAIMED MULTIDISCIPLINARY ARTIST WITH MORE THAN TWO DECADES OF EXPERIENCE IN MEDIA ARTS, HERMAN KOLGEN LIVES AND WORKS IN MONTREAL. AN AUDIOCINETIC SCULPTOR, HE DRAWS HIS RAW MATERIAL FROM THE INTIMATE RELATIONSHIP BETWEEN SOUND AND IMAGE. KOLGEN CREATES PIECES THAT TAKE ON THE FORM OF INSTALLATIONS, VIDEO AND FILM WORKS, PERFORMANCES AND SOUND SCULPTURES. HE WORKS IN A CONSTANT CYCLE OF EXPLORATION, AT THE CROSSROADS OF DIFFERENT MEDIA, TO CONJURE UP A NEW TECHNICAL LANGUAGE AND A SINGULAR AESTHETIC.
THE IMPACT OF TERRITORIES ON HUMAN LIFE LIES AT THE HEART OF HIS CONCEPTUAL PURSUITS. THE RESULTING BRUTAL TENSIONS AS WELL AS THE INTERPLAY BETWEEN VARIOUS ELEMENTS CONSITUTE THE EPICENTRE OF HIS PRACTICE. HIS MULTIFACETED WORK IS CHARACTERIZED BY A RADIOGRAPHIC APPROACH. IT’S THIS X-RAY EFFECT, WITH ITS IMMATERIAL QUALITY, THAT ALLOWS THE INVISIBLE TO BE SEEN.
INITIALLY ASSOCIATED WITH THE DIGITAL AND ELECTRONIC REALMS ACROSS AN ASSORTMENT OF HIGHLY SENSITIVE WORKS, HIS APPROACH THEN TAKES A SHARP TURN TOWARDS INCREASINGLY HYBRIDIZED FORMS. HIS INSTALLATION PRACTICE ALSO INTEGRATES AN IMPORTANT SPATIALISATION COMPONENT, MOST NOTABLY REGARDING THE FIELD OF SOUND. THE DESIGN AND APPLICATION OF RANDOM SYSTEMS OF AUTOGENERATIVE IMAGE/SOUND ALSO ALLOW FOR THE CREATION OF AUDIOPHONIC SPACES MARKED BY THEIR IMMERSIVE QUALITY.
HERMAN KOLGEN’S WORKS HAVE MOST NOTABLY BEEN PRESENTED AT THE VENICE BIENNALE, ARS ELECTRONICA, BERLIN’S TRANSMEDIALE, ISEA, THE GEORGES POMPIDOU CENTRE, CIMATICS, DISSONANZE, MUTEK, ELEKTRA, SONAR, TAPEI DIGITAL ARTS AND SHANGHAI E-ARTS. HE HAS ALSO PERFORMED WITH PARIS’ ENSEMBLE INTERCONTEMPORAIN AND THE LOS ANGELES PHILHARMONIC. HERMAN KOLGEN HAS BEEN AWARDED MANY PRESTIGIOUS PRIZES, INCLUDING ARS ELECTRONICA, QWARTZ AND THE NEW YORK AND LOS ANGELES INDEPENDENT FILM FESTIVALS’ BEST EXPERIMENTAL FILM. FROM 1996 TO 2008, HE DEVOTED MUCH OF HIS CREATIVE OUTPUT TO THE SKOLTZ_ KOLGEN DUO.
rules for beginning writers
- Do not write long sentences. A sentence should not have more than ten or twelve words.
- Each sentence should make a clear statement. It should add to the statement that went before. A good paragraph is a series of clear, linked statements.
- Do not use big words. If your computer tells you that your average word is more than five letters long, there is something wrong. The use of small words compels you to think about what you are writing. Even difficult ideas can be broken down into small words.
- Never use words whose meaning you are not sure of. If you break this rule you should look for other work.
— V. S. Naipaul