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Feedback is both a mechanism, process and signal that is looped back to control a system within itself. This loop is called the feedback loop.
A control system usually has input and output to the system; when the output of the system is fed back into the system as part of its input, it is called the "feedback."
en.wikipedia.org/wiki/Feedback
While in music theory, feedback is often described as a noise generation technique, this feedback generates patterns that can definately not be understood as noise; instead, they are very nicely organized.
TAD LOWAIT /IS THERE ENOUGH SPACE?
SNL /RELATIVE POSITIONS IN A LINEAR CONTINUUM?
JMP DOIT5 /NO
ISZ I BUFGET /WHAT ABOUT GIVING SOME SPACE?
JMP DOIT6 /YES, MANIFOLDS.
CLA CLL /MORE DIMENSIONS
TAD LOWAIT /HOW FAR DO WE HAVE TO GO?
TAD OOPS /WE NEED ERRORS TO MAKE A BREAK
SZL /A SPACE TO OVERSEE FROM A FAR
JMP .+3 /NEED SOME VELOCITY FOR DISPLACEMENT
IFNDEF VACUUM
/DO NOT FILL MY EUCLID SPACE
/ACCELERATED GRAVITATION. FOR 8/E OR 8/A COORDINATE STRUCTURES
/AN RX01, TRY CAF. BE AWARE FOR \BAROTRAUMA, TRY OFF \WHEN \HYPOXIA, \DECOMPRESSION
/DO NOT USE AN INSTRUCTION WHEN COMFORT DISPOSITION OF COMFORT ZONE
/SOME ARTIFACTS
/ \MATHBF{X}\CDOT\MATHBF{Y} = \SUM_{I=1}^N X_IY_I = X_1Y_1+X_2Y_2+\CDOTS+X_NY_N.
MARGIN=4 /DID WE CATCH THE SPACE GROPING IN TIME?
AC7776=CLL STA RAL
NO_JOSS\FOCAL\MUMPS\TELCOMP
10 INPUT "NEED SPACETIME: ", U$
20 PRINT "HELLO "; U$
30 INPUT "HOW MUCH SPACETIME DO YOU NEED ", N
40 S$ = ""
50 FOR I = 1 TO N
60 S$ = S$ + "*"
70 NEXT I
80 PRINT S$
90 INPUT "DO YOU WANT MORE SPACE TIME? ", A$
100 IF LEN(A$) = 0 THEN GOTO 90
110 A$ = LEFT$(A$, 1)
120 IF A$ = "Y" OR A$ = "y" THEN GOTO 30
130 PRINT "EVERYTHING FOR MEGAMAN"; U$...
From the Rafaël Rozendaal remixes I made during our residency in Rio de Janeiro.
original: 90kb, interactive, scalable and endless, now: 1.7mb, linear, scalability limited, and looped.
Made at the workshop I gave at Bilkent University, Ankara in April this year.
rosa-menkman.blogspot.com/2008/04/paso-fest-2008-ankara-t...
print that was exhibited at Hibaművészeti kiállítás (HU) // in the back are my images.
ççCcçcccccccCÇÇ itwasjustaglitch.blogspot.com/2011/05/opening-of-exhibiti...
Its national ribbon day - the day that the queen beatrix of the Netherlands gives out ribbons to all the people she thinks are worthy to be part of her army (lintjesdag). I did not get a ribbon from here, but I was fortunate to get a ribbon from Virtueel Platform, an institute in the Netherlands that is doing research to find some of the best examples of e-culture in the Netherlands. I think it looks pretty good on me.
musicvideo, created by exporting footage into different Compressions (such as least quality/animated/256 colors mov to least quality/256 colors/uncompressed avi, etc), resulting in artifacts such as dropped and bleeding pixels, noise and weird forms of interlacing.
And later:
ho
RRRRRRRRRRRRRRRR
we hebben een #setje screen LCD cracks gebundeld"
---voor de cimatics mix--------------------
DLP projectors utilizing a mechanical spinning color wheel may exhibit an anomaly known as the “rainbow effect.” This is best described as brief flashes of perceived red, blue, and green "shadows" observed most often when the projected content features high contrast areas of moving bright/white objects on a mostly dark/black background. The scrolling end credits of many movies are a common example, and also in animations where moving objects are surrounded by a thick black outline. Brief visible separation of the colours can also be apparent when the viewer moves their eyes quickly across the projected image. Some people perceive these rainbow artifacts frequently, while others may never see them at all.
en.wikipedia.org/wiki/Rainbow_effect#The_color_wheel_.22r...
TAD LOWAIT /IS THERE ENOUGH SPACE?
SNL /RELATIVE POSITIONS IN A LINEAR CONTINUUM?
JMP DOIT5 /NO
ISZ I BUFGET /WHAT ABOUT GIVING SOME SPACE?
JMP DOIT6 /YES, MANIFOLDS.
CLA CLL /MORE DIMENSIONS
TAD LOWAIT /HOW FAR DO WE HAVE TO GO?
TAD OOPS /WE NEED ERRORS TO MAKE A BREAK
SZL /A SPACE TO OVERSEE FROM A FAR
JMP .+3 /NEED SOME VELOCITY FOR DISPLACEMENT
IFNDEF VACUUM
/DO NOT FILL MY EUCLID SPACE
/ACCELERATED GRAVITATION. FOR 8/E OR 8/A COORDINATE STRUCTURES
/AN RX01, TRY CAF. BE AWARE FOR \BAROTRAUMA, TRY OFF \WHEN \HYPOXIA, \DECOMPRESSION
/DO NOT USE AN INSTRUCTION WHEN COMFORT DISPOSITION OF COMFORT ZONE
/SOME ARTIFACTS
/ \MATHBF{X}\CDOT\MATHBF{Y} = \SUM_{I=1}^N X_IY_I = X_1Y_1+X_2Y_2+\CDOTS+X_NY_N.
MARGIN=4 /DID WE CATCH THE SPACE GROPING IN TIME?
AC7776=CLL STA RAL
NO_JOSS\FOCAL\MUMPS\TELCOMP
10 INPUT "NEED SPACETIME: ", U$
20 PRINT "HELLO "; U$
30 INPUT "HOW MUCH SPACETIME DO YOU NEED ", N
40 S$ = ""
50 FOR I = 1 TO N
60 S$ = S$ + "*"
70 NEXT I
80 PRINT S$
90 INPUT "DO YOU WANT MORE SPACE TIME? ", A$
100 IF LEN(A$) = 0 THEN GOTO 90
110 A$ = LEFT$(A$, 1)
120 IF A$ = "Y" OR A$ = "y" THEN GOTO 30
130 PRINT "EVERYTHING FOR MEGAMAN"; U$...
While Zielinski got more into details about coiled spirals, snapped cycles and time capsules, my brain started spiraling into its own depths. My thoughts started to get stretchy and leggy and from my notes I can only make up some questions: If the tipping point of the snapped coiled spring is the point where everything flattens, voids and unfurls, is this then the point where I am no longer limited to my own timeline; is this the point where I can traverse timelines? Is this how I am to understand the traveling of time; to unfold myself onto the moment/um, where I can choose, at once to change my timeline of operation. Is this the point (the 'now'), where time is for a moment a straight line, inside the vortex, the moment where I can choose my own contingency (my own future and my own past)?
Although the term noise is often used within the context of the expansion from the world of sounds, a single definition of noise is not possible.
Noise in rock music often centers around two effects, both connected to the electric guitar and developed in the sixties: feedback and distortion.
How can we explain the glitch as an unexpected, abnormal mode of operandi, when the artists working process and more importantly, what the artist aimed for was abnormal in the first place? In other words, can an intended error be erroneous?
░░░░░░░░░ ░░░░░░░░░
While Zielinski got more into details about coiled spirals, snapped cycles and time capsules, my brain started spiraling into its own depths. My thoughts started to get stretchy and leggy and from my notes I can only make up some questions: If the tipping point of the snapped coiled spring is the point where everything flattens, voids and unfurls, is this then the point where I am no longer limited to my own timeline; is this the point where I can traverse timelines? Is this how I am to understand the traveling of time; to unfold myself onto the moment/um, where I can choose, at once to change my timeline of operation. Is this the point (the 'now'), where time is for a moment a straight line, inside the vortex, the moment where I can choose my own contingency (my own future and my own past)?
this is the first legitimate release from luke silas as knife city. he makes loud dance music using game boys, and loves to play it live for you. buy him a drink if you go to a show. plz&thx! °•.˛♥˛.•°
Cover art by Rosa Menkman
3 Feb: 16:00 – 17:30 I will moderate: in/compatible aesthetics symposium: Uncorporated Subversion: Tactics, Glitches, Archeologies | panel with Jussi Parikka, jon.satrom, Michael Dieter, Julio d'Escrivan.
----------sat~@Ndaymight.//
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Computer Aided Creativity: Practical Experience and Theoretical Concerns
Robert Pepperell
I acted as "an agent of both randomness and order by causing the system to change in ways it would not otherwise do and by creating novel formal combinations.
The result was a system operating in the region of complexity between stasis and chaos."
3 Feb: 16:00 – 17:30 I will moderate: in/compatible aesthetics symposium: Uncorporated Subversion: Tactics, Glitches, Archeologies | panel with Jussi Parikka, jon.satrom, Michael Dieter, Julio d'Escrivan.
Students of EECS Professor Alfred Hero's EECS 452: Digital Signal Processing Design Laboratory course partake in final presentations of projects they have been working on all semester in the Lee Iacocca Room in GG Brown on North Campus in Ann Arbor, MI on December 11, 2012.
Photo: Joseph Xu, Michigan Engineering Communications & Marketing