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eden-rosebct · 6 years ago

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Circa Solar - realign with the nature of time

For emerging practices we were encouraged to look at a technological kick starter of our choice and identify our personal positions, the practice of it within the creative arts and industries, Articulate propositions and highlight alternative and future directions of the said artefact within the said industry.

Circa Solar. On my initial encounter with Circa Solar, it looked like a fun approach to the concept of time. It sells itself as an alternative clock, based around “the nature of time”. I thought this was an interesting and certainly an aesthetically engaging concept. From a shallow perspective, the whole article on Kickstarter was well-curated, colour coordinated, flashy, clean and had a lot of information from the artefact itself to the philosophy behind it.

It was my pretentious side that grasped to this idea that “I don’t need numbers for the time, this is way cooler” or “This is more natural for my body rhythms” and other naive thoughts. And the more I read the more caught out I was about how clingy it was.

We depend on time telling for everything in our culture, it is the main structure of our society. We do everything based around time. The stance they were taking, however, was to change the view of time into the visual concept rather than numerical.

First, look

The contemporary aesthetic included a lot of cohesive colour work in a bright sunlight yellow, contrasting this with a black and grey accent. This theme was used on all imagery, from photography, design and film. It was obvious they wanted an overall impactful “look” for this product. It did make it look professional and well organised, though when I watched the video I was introduced to the concept with a robotic voice over. It was well informed and to the point and used big words to further drive the importance of their research behind the project. It was clearly a persuasive approach into convincing us that our current reading of time was potentially a “toxic delusion”.

Though I understood the language they were using, it was a language that would be considered more academic than marketable in my opinion. Their language usage was also concise but ultimately intimidating. It came across as existential and conceptual, rather than whimsical, which I think is a loss, they take themselves too seriously so me to take them seriously.

They believe this is the solution to the additive “short term thinking” that our current culture is subject to. Using sentences like “if you choose to support solar in this critical moment in time” and overall sense of urgency, the language indicates that their main goal is to enter a new chapter of telling time. I think though, to me, it sounded pretentious. The words and overall approach seemed like an overpromising application. It seemed like they were building up this huge influential project and it would change the world. I was just waiting for a “and much, much more” sentence.

They separated their explanation from its most simplistic approach to its most complex. I did feel this was effective and worked well for the average viewer, it allowed you to see as little or as much as you want. Chapters are as follows…

Circa Solar in a sentence

Circa Solar in a paragraph

Circa Solar prototype

Circa Solar in a Story

Nature of Time

Nature of being

Toxic Delusions

Radical Coexistence

Furthermore risks etc.

What don’t they say is that this will replace time altogether, but it does seem to have a negative look on the current way of telling time, where that be analog or digital, as far as I know, this is all numerical based rather than visual sundial style. I think there is. the reason why we as people in society graduated from the sundial approach to telling time, to a numerical approach. They also don’t seem to mention anything about sundials and how they were a mix of numerical and visual time telling value. They also seem to compare humans to plant life and the “natural” cycle of light. Funny enough, we aren’t plants, we are people. Time to me at this point is a necessary and essential part of society these days, and it is that way for a reason, which I plan to further investigate. Text, Labels Signs are extremely well curated, it looked like everything was perfectly made to empower their message. It also looks like everything is completely staged and based on theory, rather than practice. I would have loved to see someone use their form of time telling for a week. As I think the biggest concern for people would be being late to things. I know that would certainly concern me.

((photo))

They had a lot of visual features including, imagery, photography, gifs and video. This was mainly used to show their movement of time.

Things I would note on.

-Didn’t show a human interactive experience, even the voice over was obviously robotic.

-Going backwards not forwards to me

-seems to be more aesthetically based than practical

-would be cool if it was added to current time telling, with out the numbers it reminds of me of “island time” or “meet me at noon”. Doesn’t work in an urban sense and creates timeliness risk.

The artefact itself

The artefact itself looks like a typical watch or phone app. With a basic monochromatic shading. The hand of the clock still moves around the circle, however, the sunrise and sunset elements are emphasised with the dark to light shading. There are dots around the screen where the hand can point to, however, I think it is still confusing to read as you can’t tell exactly what time sunrise is. For example, 6 is normally where the 3 hands would be, they have changed around the structure of what area of the clock means what time.

The way it works is below.

Similar products

David Beren and Jay Alba (2019)m Life wire: The 10 Best Wake-Up Light Therapy Alarm Clocks of 2019https://www.lifewire.com/best-light-therapy-alarm-clocks-4137028

Sunlight Clock Free

https://apps.apple.com/us/app/sunlight-clock-free/id319009777

Day & Night map

https://apps.apple.com/us/app/day-night-map/id741375889

Sunrise Sunset Lite

https://apps.apple.com/us/app/sunrise-sunset-lite/id321324581

Daylight Clock

https://apps.apple.com/us/app/daylight-clock/id822702909

Daylight one

https://apps.apple.com/us/app/daylight-one/id995040350

SolarWatch Daylight & Weather

https://apps.apple.com/us/app/solarwatch-daylight-weather/id1191365122

Sol: Sun Clock

https://apps.apple.com/us/app/sol-sun-clock/id491537291

Sundial - Solar & Lunar Times

https://apps.apple.com/us/app/sundial-solar-lunar-times/id976460540

Daylight

https://apps.apple.com/us/app/daylight/id324528814

Sunny Side Up – Sunrise to sunset, the measures time and robotics

komorebi – Platform for generative sunlight and shadow

https://www.creativeapplications.net/processing/komorebi-platform-for-generative-sunlight-and-shadow/

SUN – Sun’s cycle as an interactive (playful) experience

https://www.creativeapplications.net/js/three-js/sun-suns-cycle-as-an-interactive-playful-experience/

To investigate their concept more I wanted to go back to how time telling came about, which I would assume is by the sun rise and sun set. This was further confirmed for me with a video A brief history of time (keeping). Stephan Hawking also has books on a briefer history of time, even briefer history of time. I did not have time to read his books, but this video seems to sum it up pretty well. For a lot of our lives in the early days, sun and seasons were all the time keeping we ever needed, however with the development of civilisation people needed schedules.

Egyptians made clocks using shadows and split the day into 12 hours depending on where the shadow lay, this can be referred to a sundial. This concept is increasingly similar to how this watch proposes to operate, using the “shadows” and visual representation of time. I can't help to think, is this not just going backwards? Or maybe that's the point? It’s not exactly a wildly new concept, but maybe it's new in regards to how we live now, and new in the way it reinterprets the past. For nighttime they would 12 of their favourite constellations rise. 12 because Egyptians preferred duodecimal numbers to match lunar or funny enough the number of joints we have on each hand. It took over 3000 years of “clock” making to get to where we are today with our digital and analog clocks.

This Artefact is taking on this idea that we could re connect with the natural light cycles again, removing a minute to minute living. Reading the article again I also understand that they are not trying to change the main form of time telling, more so showing an alternative to living with time. Their purpose is to draw us back to our roots of living. Though I can understand that this would be appealing either aesthetically, or used as a form of a relaxed way to tell time, I do not think it would be practicle as the only source of Time telling and not everyone can afford to be on “island time” sort of sounds like it was made by someone who was always late.

Conclusion todo

What is the argument behind the value proposition or the future scenario?

Evaluation questions

References

Sundials https://www.youtube.com/watch?v=tI0GqYJha1Q.

Circa Solar - realign with the nature of time

https://www.kickstarter.com/projects/1289884842/circasolar?ref=discovery&term=technology%20

A Brief History Of Time(keeping) https://www.youtube.com/watch?v=mjSwRwAqQA4.

#ctec702

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jascnbrody-archive · 7 years ago

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hogsteeth replied to your post: hogsteeth replied to your post: ...

i think about the phone thing A Lot like what else was on there. what did he see. what does vaas know that we dont. also why was the skydiving video already like. fully edited. also like come to think of it theres So much shit he probably relies on his phone for like. can he read a map? can he even read an analog clock? does he bother to Remember Things At All Ever or is he just so used to having google at his disposal that he doesnt bother?

vaas gets to peek into js personal notes. all his other pictures. his undeleted convos. hes got 50 little app games hes playing on now theyre all vaas’ to fuck up. j had to have a password on his phone did vaas hold a gun to his head t get him to unlock it

#hogsteeth #replies #the map feature is basically like google maps #i like to imagine he gets someone to point out his destination to him. and where he is #and then he draws a line to and from the point using the roads. all in pen.#its all permanent. dont ask him how he reads it

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technoraghu · 4 years ago

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Home Page With Image Gallery Website Using Html Css Js Bootstrap

In this tutorial you will Learn How To Make Home Page With Image Gallery Website Using Html Css Js Bootstrap. Create a complete responsive Image Gallery Website design step by step. I Hope this tutorial will be helpful. SUBSCRIBE NOW Download Files From Here : Download Read More – How To CreateTestimonial Slider Using HTML CSS JavaScript CSS Neumorphism Analog Clock UI Design | Javascript…

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mystrangercrown · 5 years ago

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In this article, I am going to tell you how you can easily make a clock using only simple HTML, CSS, and JavaScript programming code. The JavaScript programming language is one of the most widely used analog clocks. Also, some amount of HTML is used for design and some amount of CSS code for styling.

#clock #digital-clock #html #css #javascript

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sinceileftyoublog · 5 years ago

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Jason Sharp Interview: Skies and the Heavens Above

Photo by Emily Gan

BY JORDAN MAINZER

The COVID-19 pandemic has catalyzed a much-needed alteration of the relationship between musicians, the music industry, and consumers. Along with the artists and listeners themselves, many independent record labels and streaming platforms have been at the forefront of this change. Longstanding Montreal-based experimental label Constellation Records was one of the first to establish a pandemic policy, in April promising to artists 100% of digital download revenues from their website and Bandcamp, an initiative that has been extended on a monthly basis and will last till at least the end of the year. Now, they’ve foregone their normal winter album release cycle and launched a series called Corona Borealis, which showcases their roster via one-off longform singles and accompanying videos. 16 artists total will end up participating in the weekly series, which has so far included avant-garde jazz artist Markus Floats, post-rock musician Efrim Manuel Menuck, and violinist/sound artist Jessica Moss. The latest, released today, is saxophonist Jason Sharp, who debuts his first-ever acoustic saxophone track “Gates of Heaven”. Sharp, who employs a circular breathing technique in his playing, recorded the 18-minute track at the synagogue of the same name in Madison, Wisconsin last summer, and it’s been paired with a short film by video artist and curator Guillaume Vallée.

I called Sharp from his home in Montreal last week to talk about the history and composition of the track, collaborating with Vallée on the video, how COVID-19 has affected him, and the importance of establishing new, perhaps permanent economic shifts in the music world. Read our conversation below!

Since I Left You: What’s the history behind this track?

Jason Sharp: [In June 2019], I was just outside of Chicago recording with Roscoe Mitchell, and we had booked two churches to do our session. We only ended up using one of them, and we were supposed to be recording for three days and ended up using only two. On route to the airport, the engineer [Vid Cousins] and I stopped in this little synagogue, Gates of Heaven, in Madison, WI, and recorded this solo piece. It was a really quick in and out setup, with mics at different distances in and around the building. I did this piece in there, and we left. Honestly, I didn’t really think that much of the recording for a while. It was lost in my archives.

When COVID hit, I had some time to go back through some recordings and came across what I had done nearly a year ago. It spoke to me in a way it didn’t in the moment, and it was nice to rekindle that recording. Editing and mixing during this shutdown period kept the creative juices flowing.

SILY: Was the track entirely improvised?

JS: Yeah, entirely improvised. It’s an 18-minute track, and I improvised a bass layer for 18 minutes and then had the engineer reel it back, and I did a response to that, creating a harmony and melody and improvising in a compositional way. The day before, I was playing in a more traditional improv kind of way. This was more compositionally driven but sourced through improvisation. It was all kind of on the fly. There’s a certain energy when you capture recordings in that way. It’s kind of refreshing to hear after the fact.

SILY: The track seems to have three distinct parts, almost perfectly in thirds. You’ve got the bass layer at first, then the fluttery, more obvious circular breathing-type playing, and in the final bit, you combine the two parts.

JS: The way that we did it, I put a clock in front of me, and it was supposed to be 5 minutes apiece, and it ended up being closer to 6 minutes. I did a take improvising to the clock and already had in mind doing this in three separate sections. The first section was long tones, sustained sounds, bringing up the harmony and the overtones of the notes. The second was more rhythmically driven. As you said, the third was meant to encapsulate some of the other types of approaches used previously. There’s an arpeggiated figure that holds it together and sustained notes reminiscent of the first part. Harmonically, the first two parts are in a minor key, and the final is just three notes, so it ends up being in a major key. It was somewhat predetermined that way but ended up, as you said, being a focal point of the techniques used previously.

SILY: When you’re improvising, to what extent are you paying attention to the space in which you’re playing and taking that into account when making decisions?

JS: That was the nicest thing about recording in that synagogue. It was a beautiful space, a very resonant space providing a lot back. There are some things I was doing to purposefully activate that space. Towards the end, I was doing these blasts and pops to accentuate the resonance of the space itself. Playing some of the higher register of the instrument and vocalizing through it and using the mic sources furthest away from me in the very back of the room created a perception of depth and a far-off cry type of thing to give it some sort of 3D element. When you’re playing in spaces, you’re always playing in the room, but when you’re playing in a rich acoustic environment, you’re not working with a PA. It makes you want to activate the space in a way.

SILY: How did the video come to fruition?

JS: The video is a first-time collaboration with Guillaume Vallée. We have never even met face to face. I was kind of nearing a rough mix and shared that track with him. I was familiar with his work through another peer of mine. I basically gave him carte blanche to do what he wanted with it. I told him the piece was in three separate movements and that the first two were darker shades and the third had a shift in tonality and a different emotional quality to me. That’s basically as much guidance as I gave him knowing what he does--he works with analog film stock and video effects. He said he had a lot of source material that had already been compiled that worked well with the track thematically. There are images of a church that appear towards the end in there that I thought was a quite nice reference to the space itself. For the most part, we were working in parallel: I finished the final mix while he was working independently on the film.

SILY: The video does seem to reflect the song. It fades to black to separate the three parts, and the abstractness of the imagery and color hues follow the dark-to-light trend as well.

JS: I really enjoyed watching it for the first time. He went through his own creative process with some basic structural direction and took it and ran with it in a really great way. I hope we can work together again.

SILY: How has COVID-19 concretely affected you as an artist?

JS: It was significant as it has been for everybody. Artistically, I was supposed to be in the studio recording another record. That was cancelled. I couldn’t be in the studio at the time. I had a European tour which was also cancelled. I was supposed to perform for a lot of other players and projects. Basically, all performance things were at first being rebooked for the fall--and obviously, here we are--and so they were cancelled or rebooked for the summer of 2021. That’s almost a year and a bit of not really performing on a regular basis in the way I’d be used to. It was definitely alarming. My wife and I also own a yoga studio in the neighborhood we live in, the Mile End of Montreal, and that was severely affected as well. It provided a lot of added stress on life that didn’t leave much room for working on things artistically. I was able to squeak out enough time to go through my archive recordings and came across this recording. It was a really rejuvenating thing working on this track. Retreating into the recording was a bit of a saving grace artistically.

Things are being reinvented right now. I just did a live stream event for [Suno Per Il Popolo] and have resumed composing and have a recording date for an upcoming album for Constellation. Bands I’m in are picking up the pieces and dusting themselves off and moving forward in their own right with different ways of documenting work and planning for the future.

SILY: How important is it to you from an ethical and financial standpoint to be signed to a label like Constellation, who’s willing to forego their normal album release cycle for a few months to have its signees able to release these one-off singles?

JS: This particular initiative is amazing. Constellation has always been such an incredible supportive force for me and all the artists on the roster. They’re so artistically driven. I don’t have a lot of experience with other labels, but it’s a very ethical and supportive relationship. This series exemplifies that. Putting out albums has become almost a calling card for live dates, in my experience. Now that we’re in a position where there aren’t live dates, it’s okay to postpone these physical releases. It’s wonderful they can put out something as a label that showcases the diversity of the artists on the roster. Long-play, but small packages. In many ways, it gives people the opportunity to showcase another side of themselves. Putting out a single doesn’t come with the same gravitas as an album. It allows you to do something outside of what your main focus might be. This is my first acoustic saxophone recording--I’m generally using a lot of electronics or occupying an electroacoustic space. The record I’m working on is very much in that vein, using a lot of modular synths. It’s freeing to be able to step out of the box.

Financially, Bandcamp has been really supportive through this. Constellation stepping up and helping artists get these types of singles out into the world, with the support of their platform, and giving 100% of the revenue to the artists, it’s obviously super supportive and very much appreciated and can do a lot for both the label and the artists involved.

SILY: To what extent do you see this type of release pattern as something that will continue post-pandemic?

JS: It may, and I hope it does. Record cycles are obviously changed right now, and maybe some of the solutions being put in place will find a new home and stick around. Constellation’s mainly focused on vinyl releases, so all these digital releases have a totally different turnaround time. It’s obviously less expensive, and the singles themselves keep the stoke to the artistic flames instead of a usual album cycle. As people are coming up with these solutions during this time, a lot of them were needed, COVID or not. That’s the silver lining, for sure. It’s been illuminating to see people reach people in different ways and create different relationships between artists, the industry, and the consumer. Something of a hybrid of the solutions of where we’re at right now and how we normally operate could be in store.

SILY: Do you think it’s going to change the way you release music, whether self-releasing or doing digital-only releases?

JS: I’ve never really felt the need to self-release. It’s hard to get music out into the world. I’ve definitely been grateful for Constellation’s support. There’s a certain creative process that you go through when you know there’s gonna be a physical release at the end of it. It requires you to germinate a little bit more. I’ve never felt the need to be prolific or the need to constantly be putting something out.

SILY: What else is next for you?

JS: I’m working on this record that’s gonna come out in some form in 2021. I scored an amazing film by Daïchi Saïto. I did his last film and was able to do some live performances with that film in Europe. We worked together on his next film, which will be coming out in 2021. I have a couple more live streamed things and recording projects with different people, but the upcoming record and the film are the biggest documents that will be coming out soon.

SILY: What have you been up to in general during the pandemic?

JS: It’s been really busy, between keeping our small business afloat, which we’re in the second stage of, and spending a lot of time in my studio and sharpening my tools, so to speak. I’ve been working on electronics and building new modules for things I may use for music making in the future. My family lives on the West Coast of Canada, and during the summer, we went out and lived on a boat in the wilderness for a month in the Northern tip of Vancouver Island. We were really far remote and didn’t see anybody for a whole month. It was very special and rejuvenating. The perfect thing to do in these self-isolating times.

vimeo

Jason Sharp | "Gates of Heaven" from Constellation Records on Vimeo.

#jason sharp #interviews #constellation records #guillaume vallée #vid cousins #suoni per il popolo #daïchi saïto #covid-19 pandemic #covid-19 #coronavirus #coronavirus pandemic #constellation #bandcamp #corona borealis #markus floats #efrim manuel menuck #jessica moss #gates of heaven #roscoe mitchell

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sarahjaneseddon · 5 years ago

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Artist Research

praRebecca Baumann

Image from - https://www.artsource.net.au/Magazine/Artist-Features/Rebecca-Baumann

I am interested in Rebecca Baumann’s work since I went to Te papa and I saw her art work “automated colour field.” I was really engaged with her work and I found her piece satisfying. Each flip clock would flip and different times and sequences. Although I am not sure if this uses code the concept of clocks and setting a time for each clock to flip at a different time I would consider a type of element in code. For example, in processing you can change frame counts and in three js you can change speeds, this is all to do with clocks/time.

Automated colour field research

“Automated colour field is a subtle play between materials, colour and movement. The way I often work with materials is to manipulate and control them to a point – then let them free to ‘do what they do’. The clocks are placed on the wall in an orderly grid, but with their constant change, and randomly selected colour, uncontrollable compositions are created.“ - Rebecca Baumann 2012

According to https://www.mca.com.au/artists-works/works/2011.20/

Baumann is interested in how we subjectively perceive colour and time, and how these phenomena are scientifically visualised and measured. Her main focus is the intimate relationship between colour and emotion, and the way specific colours and colour combinations can elicit particular feelings or moods. Bringing time into this equation, Baumann links the continually changing arrangements of colour generated by the flip-clocks to the fluctuating spectrum of emotions people experience over any 24-hour period.

youtube

I have watched a youtube video about Rebecca Baumanns work. Rebecca Baumann is based in Perth West Australia. Rebecca works mainly with sculpture, installation and performance. (This isn’t a example of coding for creative practice but to set the times for each clock I will assume that this could have a form of code in this work.)

Rebecca enjoys exploring emotions and psychology. Automated colour field expresses emotions and in this video she says “I wanted to have colour as the subject.”

Rebecca was inspired by the arrival and departure boards overseas, they flipped over each time a flight or time changed. Rebecca asked herself “what if I added colour.”

Rebecca uses different materials in her work “I use a lot of everyday materials I find and I like to activate them in ways to change their inherent language.”

“A lot of my practice is driven by materials.”

”I get my ideas when I am out in the world.”

Automated colour field took about 8 months. Rebecca wanted to make Automated colour field work in a gallery space and wanted to make something a lot quieter compared to her other work “You can enjoy it from a formal level of play colour and movement.” Automated colour field is a Diagram of how you feel over a day.

https://coconuts.co/singapore/news/final-call-for-singapore-iconic-airport-departure-analog-flipboards/

This is an example of what inspired Rebecca Baumanns Automated Colour Field. This is an airport departure flip-board similar to her art piece.

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otterhackerxyz · 6 years ago

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How to add Google+ Follow & Other Widget Button with Blogger

Google New Gplus button for blogger that lets you to share your blog with many people across the world. Blogger introduces two Google+ gadgets (+1 Button and Google+ Badge). The Google+ follow is simple button added with your blog which quickly allows visitors to add you or your page to their circles. When a user clicks on ‘Follow’ button, Google receives information including the URL of the page/profile/community followed, information about the user's Google profile, the user's IP address, and other browser-related information.Go to Google Developer Link: https://developers.google.com/+/web/badge/ Add the URL to which you want to link Google+Once you added the Google+ URL, the Demo window on the right of the screen indicating the different type of Google Plus customization.By Clicking on “Advance Options” you can choose either a light background or dark background for Google+ button.Experiment with slider tool: You can choose the width of your Google+ follow badgeAlternatively you can paste your HTML/Java script code into your blog and later can updated this code. (function() { window.___gcfg = {'lang': 'en'}; var po = document.createElement('script'); po.type = 'text/javascript'; po.async = true; po.src = 'https://apis.google.com/js/plusone.js'; var s = document.getElementsByTagName('script'); s.parentNode.insertBefore(po, s); })(); .wc-gplusmod, .wc-gplusmod:before, .wc-gplusmod:after { background: #ffffff; border-radius: 5px 5px 0 0; border: 1px solid #ccc; box-shadow: inset 0 0 30px rgba(0,0,0,0.1), 1px 1px 3px rgba(0,0,0,0.2); } .wc-gplusmod { position: relative; width:250px; padding: 1em; margin: 50px auto; } .wc-gplusmod:before, .wc-gplusmod:after { content: ""; position: absolute; left: 0; top: 0; width: 100%; height: 100%; -webkit-transform: rotateZ(2.5deg); -o-transform: rotate(2.5deg); transform: rotateZ(2.5deg); z-index: -1; } .wc-gplusmod:after { -webkit-transform: rotateZ(-2.5deg); -o-transform: rotate(-2.5deg); transform: rotateZ(-2.5deg); } Note: Change the Red Colored Link with your own Google plus profile or page address. Adding Google Clock with Blog:1. Login with your blogger Dashboard and select Layout.2. In the Layout select add a Gadget option “HTML/JavaScript” widget.3. In the HTML/JavaScript widget paste your Generated code.

To design different custom analog Clock check this link: Design Analog ClockAdding Live Exchange Rate with BlogSame link above open your blogger Layout Choose HTML/Java script widget and paste below code:

var tz = 'userset';var w = '180';var mc = 'SAR';var nb = '10';var c1 = 'USD';var c2 = 'KWD';var c3 = 'INR';var c4 = 'AED';var c5 = 'PKR';var c6 = 'CAD';var c7 = 'NPR';var c8 = 'NZD';var c9 = 'BDT';var c10 = 'CNY';var t = 'Live Exchange Rates';var tc = '333333';var bdrc = 'E0E0E0';var mbg = 'FFFFFF';var fc = '333333';var ccHost = (("https:" == document.location.protocol) ? "https://www." : "http://www.");document.write(unescape("%3Cscript src='" + ccHost + "exchangerates.org.uk/widget/ER-SCRT2-1.php' type='text/javascript'%3E%3C/script%3E")); Adding Live Traffic Feed with Blogger:

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