Akshay Documentation Book

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QUASI-ENNUI Documentation Book

Name: Akshay Shankar Project: Art in Transit Project Guides: Sandeep Ashwath, Amitabh Kumar, Abhiyan Humane, Arzu Mistry, Shivani Seshadri Award Title and Year: B.CrA <Digital Media Arts> Animation

Overview Context Immersion -Interview Phase -Visiting Artists -Artistic References

Curatorial Frames Initial Proposals

-Initial Ideas -Studies -Preliminary Research

Form and Prototype Character Curation -Leaders -Performers -Clusterings

Research

-Temporality

-Quantum uncertainty -Illusion of motion -Illusion of doubles -Play Therapy -Existential Relativity

Prototyping phase Site Maps Final Proposal Relfective Statement Citations/ bibliography

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Proposed metro lines of bangalore

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OVERVIEW Art in transit is a project that’s based primarily in sitespecific installation based works that will be curated. There are a number of people from different disciplines attempting to put forth their artistic interventions in the space. As a scholarly space, Art in Transit is emphatically described by a diversity of philosophies, practices and methodologies. From workmanship that communicates, intercedes, enacts and induces, we investigate the full range of intervening in public space. The undertakings that are facilitated and encouraged at Art in Transit are described by a strong sense of process, extensive onsite immersion and research with a specific end goal to advise and advance the specialists’ reactions to site. By providing contextual framing to a nascent media practice we explore the idea of public space to its truest potential where the artist has a direct relationship with the audience. This approach is further nuanced by linking emergent global public art practices with the idea of space and locality. This is an antithesis to the blind imitation of styles and tendencies that often inhabit the idea of the popular. We instigate strategies wherein there is constant evolution of art practice through the lens of space, as opposed to appropriation of space through art.

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CONTEXT

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This program extends itself as a platform where various practices, pedagogies and processes centered on public art in Bangalore can converge to provide a unified vision responding to the transforming urban landscape of Bangalore. As an instructive project, we focused on building up a scope of basic practices that react to the developing interest towards the revitalization of open spaces through workmanship and outline. The developments in public art practices has made pertinence around inquiries of framing and positioning oneself inside of a bigger field one of the possible routes of enquiry. This particulary interested me when trying to locate persons or locations as point markers in history, social strata, and the general biosphere. Personally, following digital media, animation and performance and illustration as my pursuits in

college, I decided that this course gave me a platform to experiment amply with a project while still remaining true to my disciplines. In the first few days we did a large amount of ideation and brainstorming as we pitched idea off the top of our heads. Here we established our positions and expressed the kinds of pieces and scales we planned on working on and got a general idea of what everyone else in the group was looking towards. We started our talks of what we could put up, in general in a public space. This started with some presentations and with us looking about at some other pieces that had been made in areas akin to our present subject space. The mural work and the interventions in small and hard to notice spots particularly caught my eye. Not really being fond of attempts at propaganda of most kinds, I found myself

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imagining up small visuals that could be appropriated into hard to spot spaces in the space [all this before seeing the location in question]. Next, we actually looked at the metro. This was my first peek at the mural upon which all this work would be done, and it certainly was eye opening. The various sections of the metro were in different stages of completion and this gave us a candid peek into its workings and design. It was fascinating to see the walls and sections of the staircase that were opened up due to being under construction. These things made us see the place in a literal ‘new light’. I took particular note of the dark nooks and crannies that were spread all over the place and seemed like potential spots for action. In these, I wanted to make something that had the potential to stop and divert the throngs of people that

would undoubtedly pass through the place One of the ideas that were discussed in class was making pieces that are large in scale and critical and/or central to the common man’s daily life. To this effect, after much meandering we managed to somehow get to the idea of hedges and other such setups. This got me thinking of bonsai and small shrub-work and other such interventions. This led on to make me wonder about the space and it’s proximity to the park all over again. This led to an entire deviant tangent of wondering about nature and of attempts at being natures advocate but the location of the metro and the ‘nature’ of plant-based installations soon put an end to these aspirations. The presence of the houses of justice and the offices of so many government officials in training being located around the same felt less

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like coincidence, and more agenda to me. When discussing this with officials of the area, a history of intense competition and a real-estate race was revealed to me. Beginning from accounts of the courts being the ‘forerunners of the encroachers’, to stories of people trying to argue land rights over displaced fences (literally dug up and moved). All of this made me wonders once again about the background of the place. People and their inherent biases aside, there was the sheer ‘extent’ of knowledge they had about the place. The various sections of the metro were in different stages of completion and this gave us a candid peek into its workings and design. It was fascinating to see the walls and sections of the staircase that were opened up due to being under construction. These things made us see the place in a literal ‘new light’. This said, I took particular

note of the dark nooks and crannies that were spread all over the place and seemed like potential spots for action. In these, I wanted to make something that had the potential to stop and divert the throngs of people that would undoubtedly pass through the place.

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Immersion

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An area of focus was ‘waiting’. Those breaks in one’s day where the eye is not fixed upon anything, or guided to a purpose, but is instead allowed to wander, searching for engagement. This presented to me the idea that this was a portion of their day that they entered almost unconsciously. Technically, it would best be represented as a deviation from their main ‘planned agenda’ for the day and so, is a part of their mental ‘day-planner’ that is ‘random’. That is to say, they are marginally more susceptible to surprise. Add this to the propensity to stare at sections of their surroundings for <relatively> long moments and I saw the potential for more interventions. This project, in a way is an investigation into the nature of time. The work references the multiple measures of time that simultaneously inform and confound our consciousness

of the moment. The composite work intends to evoke contemplation on the dynamic flux of the city. The concept pulses with enormous energy. There is an ever-present sense that an underlying source makes the city a hot spot, active with desire, intellect, and pathos. My ever growing interest in showmanship and thirst for knowledge about the strings that puppeteer the destinies of men led me to picking a public space design and art installation course. Using this to portray interesting forms to the public would allow me a platform for exhibiting while a space like a metro would allow me to study a flux-filled crowd, something ive thus far avoided.

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Some of the questions that came up were: -How do I manage to be intrusive enough that my intervention is not missed? -How far can this interfere with the daily ongoings of the space? -How relevant or irrelevant do I want the topics addressed be? -Could this intervention cause more harm than help? I realized I needed to place myself upon a certain podium from which the message would reach clearly, yet would not seem like a booming voice from the heavens, rather a striking voice from among the crowd. I looked at how this space could be intervened with. After looking around, one was bound to see that the majority of the crowd consisted of a moving mass, filled with an alien crowd that made but few stops and at any given time of the day, is likely to appreciate a little levity. Questioned about this, the responses ranged from disapproval to curiosity in various degrees.

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INTERVIEW PHASE

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Attempting to be honest to the questions that arose in class and still politically correct, we went about asking questions to the people who frequented the space. There are many kinds of people that we met there were lawyers and some were homemakers, some were merely passing through the metro station yet all of them fell pray to our questions. We asked a few questions, which were broad, and these applied to all the people. It was interesting to see the kind of responses that emerged for these people. Lawmakers for one had a cynical point of view, while the

homemakers on the other hand made varying degrees of effort to try and emulate interest in the idea of art in the metro. One of the most common elements in the answers was the people always expressed the need for the art pieces to express some kind of point or function. If this wasn’t the case then they merely relegated the art pieces to the role of a static ornament. Another common feature was that people often referred to boredom and lethargy as being common phenomena on/in the Metro Station. This said, many expressed interest in the idea of putting up interventions in the site. When posed with queries about the form or the kind of function they liked to see, they often tended to get a look of wistful nostalgia about them. This happened more frequently with the elders obviously, thought he youngsters reacted with

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their own kind of social stigma based cloud of presumed nostalgia. Fascinatingly enough, this nostalgia stretched in each person merely to their own relationships to the immediate surroundings in which they were asked the questions. These led on to more personalized questions regarding their professions and personal lives which yielded details upon their daily habits and ponderings. An oft-voiced doubt was the conceptual distance that needs to be established between a clearly distinguishable form and it’s perceived meaning as an installation in order for it to be defined as art. Some argued in favor of the argument that things like the clock and the hour glass could be viewed as art pieces while in other cases such as of the scientist or mathematician, it requires something as simple as a lever or a pulley to convince

them of the utter beauty of the object. Talking to passers by who wished to keep their profession private or in conversation with who the subject was not broached, they referred to things of a more personal nature regularly referring to objects they own or to obscure concepts that exist only upon the metaphysical plane. Amongst the answers we gleaned, another observation was that people tended to be easily persuaded to ‘watch what the crowd is watching’ and I started seeing the seething mass that was the populace as less of an audience to be pandered to, but more as a fluxing and ever stable yet chaotic element that I could work into my pieces.

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VISITING ARTISTS

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We met artists at the class who had done various interventions that overlapped partially in interest and in part in the thematic space. There was some interesting talk of wall murals and of interventions that involved mass actions, where groups of people executed flash mobs, wall mural work and made changes to the general architecture of the spaces they intervened in. In talks with the ‘Khirkee extension” about the ‘aapki sadak’ campaign and the ‘Delhi I love you’ movement I saw the gigantic potential of populace based works that used the people and their love for the space or as was more common, their most recognizable memory of the space. This got me to read up on and ponder upon the kind of conceptual independence that was necessary to give a movement the momentum to stir a crowd

[at this point I was reading up on mobs]. Here we discussed and planned how our interviews would unfold over the course of the initial few weeks. We talked and explored dominantly, food vendors and people who entered the area of the park and the metro station upon random given days at this point in the development of the site. We talked about patterns in people waves and how the chronological progressions of people in sets will affect how we orchestrated our incursions. We talked of how these were high power interactions in optimized spaces. I took this as these moments being bubbles in time within which we have a certain amount of time to try and infiltrate the interviewee’s guard and snatch at one point and attempting to engage it, regarding the audience as complex, layered subjects. Upon approaching

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the “Vidhan Savidha” we looked first at the vendors, the owners of cafes, canteens, messes, policemen, authoritarians and other service providers in the space. We discussed cliques, people, and demographics and looked at daily projections of common peoples’ timetables. Looking at time slots, we touched upon customer classes, but eventually kind of gave in to the fact that each of the entrances to the station consisted of a slightly differently balanced crowd. Koogu creative was a interaction I had the pleasure of hosting in the garage under my room and it was a pleasure and an eye-opening view at the kinds of personalized performances that are being created executed and forgotten on an everyday basis. This man’s work was all reflexive to his life’s story

and also simultaneously reflective of it, unearthing parts of the tale, bit by bit before suddenly beginning to perform on a completely different tempo, sweeping the audience off their balance before bringing the tempo back to the original, pacing the tone and excitement to such a degree that multiple clearly demarcated scenes are projected.

Talking to the ‘cooking collective’, talks of hedges and future foods pervaded my mind, giving me a chance to contextualize my feelings on things like ‘jackfruit meat’ and improved carving knives. Talk also drifted after this to

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spaces that had legalities around their ownership that had conflicting opinions of the fact of the matter between the multiple parties involved. Angelo Vermeulen is a space frameworks analyst, scientist, craftsman and group coordinator. In his work, he ties mechanical, environmental and social frameworks together through gathering engagement and cooperation. Biomodd is one of his most understood craftsmanship

tasks and comprises of an overall arrangement of intuitive workmanship establishments in which PCs and biological systems

exist together. In 2009 he propelled SEAD (Space Ecologies Art and Design), a stage for examination on engineering and morals of space colonization. Seeker is one of the subsequent activities including comade starship designs that develop after some time. It has socially drawn in craftsmanship companies that find important connections between science, PCs and individuals. On its most essential level, Biomodd makes advantageous connections in the middle of plants and PCs, and touches off discussions among the group around it. For instance, green growth are utilized to cool PC processors so they can run quicker, while the warmth that is produced by the PC gadgets is utilized to make perfect developing conditions for a plant-based biological community. This element is the impetus for a coordinated effort between the colleagues

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- which incorporate specialists, researcher, PC researchers, diversion originators, nursery workers, group coordinators - and individuals from the neighborhood group in which the venture happens. This engaged me enormously and gave me a direction to read up on, which was the

science fiction like view of machines that we have ingrained in us today and the limits of attempting to push their potential as organic objects which are relegated a position almost as profoundly regarded as beings that have consciousness and thought, personality and character.

We were introduced to the idea of the ‘pixel stick’, a technology that lets you seamlessly insert your own designs and animations into your long exposure photos with the wave of the tool. It is packed with tons of fullcolor LEDs, giving one the ability to create detailed images. This was extrememly interesting and opened up the idea of painting pictures that required no canvas and existed in a sliver of spacetime that intrigued me greatly. Thanks to its light weight and maneuverability,

the Pixelstick’s full range of motion lets you weave images back and forth, up and down, or in whatever shape or pattern you desire. Just set your camera of choice to long exposure and then move the gadget through space.

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ARTISTIC REFERENCES

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SERVAAS - Are you afraid of Video?, 1984 Jaap De Jonge - Blow Job, 1993 - Horizon,1991 Billspinhoven -The Logic of Life , 1994 Kees Afjes -Pandora’s Box, 1991 ¬Martijn Veldhoen -Status Quo, 1994 Boris Gerrets -Time/Piece, 1994 Adad Hannah -Ascending/Descending (museum Still 3) Kristen Jones & Andrew Ginzel -Metronome, 1999 Stefano Tagliafierro -Beauty etc.

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Treadmill and camera installation

Are you afraind of Video? - Serva’as

Multi-module television installation

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The Logic of life - Billspinhoven

Status Quo - Martijn Veldhoen, 1994

Meuseum of the obsolete, piece

I/Eye (1993), Bill Spinhoven (video documentation)

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Beauty, Stefano Tagliafierro, 2014.

Boris Gerret, Time//Piece, 1994

The melting of the visual communication., Saved by Ryan Lykken

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Kelly Mark, The kiss, 2007

Handmade 1940s television sets

Nam Jung Paik, Zen, 1963 White Noise Experiment on CRT Television by Visarut Nutprayoon // TV Glitch White Noise

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CURATORIAL FRAMES

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The CITY- Past, Present, Future We looked at the city, as a set of features, an ascended identity that jostles between Bangalore’s past and future. Questions of mobility versus immobility, inclusion versus exclusion marginalized versus capitalized, referring to the complex nature of social political and economic binary that guide our options. This project offers the opportunity to explore the various layers of Bangalore is transient identity and collective memories of the city where one is present every experience in the city and how they are all part of the competing aspirations of the city. We attempted to do justice to this by reading up on the history of the area and other things that we found we did not know enough about in regards to the most commonly seen phenomena in this space.

Transit as an Experience In this context we discussed how human life on the planet is characterized increasingly by greater physical and social mobility. People live in communities define not only by knowledge and culture but also by geography, economics and aspirations. Relating to each individual as a separate entity led me to look at each person as a member of the audience that will need to be catered to separately. Here I worried again about the problem of the amount time I would have with my audience and the respective attention spans that they would afford for my art pieces.

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Transit as a Social Network Here we discussed how public phone systems and structures are semi public spaces albeit paid and monitored. The system is now a regulated network and it has its own kinks, loop holes, benefits and pitfalls. Adding or detracting from this, now meant a lot more than it had at the initial stages of ideation and I had a chance to think about the dynamics of distraction and attention seeking. Following this further, I thought of how the incentives placed for an audience must be chiseled out of a bedrock of ideas, mined from repeated exposure to the site and it’s functioning, watching it’s people and spotting the recurring events in the temporal tide of people that is the average traffic of the metro station and the park.

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Furthermore, these were divided into smaller categories: Aesthetics and aspirations Participative networks The Traveller The Otherland The first “round” of curatorial mapping was thought provoking. There were four curatorial topics (Aesthetics and Aspirations, Participatory Networks, The Traveller, and The Other land) that developed out of all our underlying ventures, examination and recommendations, from which every individual had the choice of picking two to push ahead with. Having two curatorial edges appeared to be sufficiently simple in idea (more elbow room to an individual undertaking all things considered), however when it came down to the organizing i of individuals and mapping things out, things began to get to a great degree more complex. An earlier undertaking was to make the progress of both the locales and get it back open structures—floor plans of the stations were required, alongside point-by-point representations of all sub-areas inside of them. After that we were requested that meet with the two gatherings that were shaped by ones’ relationship to a particular curatorial subject. This meeting-exchange part of the activity was okay as it gave me a thought of the more extensive system of which my own venture would be a part of, inside of the space of the underground station. It got to be about my individual undertaking, as well as seeing that as inside of a bigger stream of thoughts that we as a gathering, were conjuring.

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The gatherings I was a part of, The Otherland and The Traveler, had some extraordinary ideas that were being toyed around with, however by the second meeting I was somewhat befuddled as the scope of stages and blends of tasks turned into somewhat difficult to monitor. This was aggravated by the way that every gathering now needed to make their own guide of the station, which needed to outline a stream of undertakings in the space. Alongside this, I had to position myself in the ventures that would be undertaken in the space and to identify my work amongst the jumble of art pieces that were to be generated by the group. There was likewise the way that there was the way the individual ventures over the spaces of the two underground stations, and all the pieces at this point stewed in the conceptual stew that is public art.

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Initial Proposals

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One of the first things that stood out in my line of sight was the fact that I had to make something that came under the umbrella of ‘moving image’, and indeed it was with those words in mind that I set to proposing installation pitches. Taking elements from my last projects that work into account brings the looping and briefly engaging form of visuals that the (gif)ed form possesses. These gained weight with prolonged observation and could be disengaged from, at almost any point of the loop without major data loss in a given instance. In order to facilitate this, various kinds of mechanical and progressively generative machines were proposed, from simple camera based displays that could be programmed with glitches or abnormalities that could be employed interestingly. These could be based off of timed or reactive response loops that would be programmed into

the objects. Things that ticked or beeped or turned came to mind and I plan to keep them as my primary medium of animation. Things that had a fixed track or a circuit that ensured folks could see them come in and out of their line of sight. Anything that worked as a technical ‘chronometer’ or as a repeating model, could be programmed with a little glitch, or an ‘offbeat’ rhythm that can be employed to capture their attention and let them amuse themselves by trying to keep up. Train tracks are interesting, well known and mostly well received; this is a project set in a metro station. While it is true this is a metro, and hence chrome plated affair, but the word “train”, most naturally brings to mind the steam engine and the railroad track. The traditional ‘toy-train’ form thusly, is ingrained into a

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majority of the population’s childhood memories if not all. Here, I started generating tentative visual language concepts. The forms I admitted into the tentative pitches were all things that I assumed fell into the collective nostalgia of the average traffic that one could expect to pass through. In order to keep these generic, I looked for metaphors and euphemisms and saying or quotes that existed in more than 2 or 3 languages or dialects, making it a widespread occurrence and thus, a common denominator that the people could be factored against. Going for performativity and responsiveness as the core disciplines involved while trying to express different kinds of quips and temporary and fleeting kinds of engagements that I was looking for, I thought of things like a monitor with a fleeting yet looped footage, a light that’s unceasingly

blinks, a buzzer with a timed protocol that dictates it’s function and so on and so forth. Before coming to rest upon logical, sensible setups like this however, I started with supersizing and minimizing the space in my perspectives, allowing some elements to stay normal, or merely reimagining functional parts of our everyday life with a surreal twist to them, performing most of their expected functions but at another, functioning in a completely bizarre fashion

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Initial Ideas This extended to include the idea of a miniature town or a theme park, a model of the station itself, say with working trains. This also went on to explore the idea of active models with interactive inhabitants implied in the form of maybe a fish tank or an aquarium. Once again, the ideas of a carnival like setup or a miniature town with a rooster that told the time through to fancies of miniature holograms of multiple cities and towns with their largest timekeeping piece in focus and then to make a larger functioning time piece that told layered versions of time were fancies that arose. All this pointed at the need for a powerful theme that resonated with the minds of multitudes. Taking this

as the working hypothesis, I reasoned that I needed to look for a common factor between all kinds of people, and what is more commonly seen in the average person who has a chance to pass through any given average public space, than a ‘childhood’?

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Studies Pursuing this I attempted to implement some of my reading on pedagogy and discourse and the varying opinions that existed upon the topic of how to appeal to the better books of any given audience and test their parameters without offending their sentiments. Numerous paths opened up as options, from the demagogue’s road, like Anthony and alexander, to the muted yet equally crowd-swaying soliloquies of Charlie Chaplin. I recognized that all these

great men must have analyzed the world through unique lenses that changed with time and experienced life attempting to find a way to explain to their fellow how their relative viewpoint was sufficiently deviated from the norm to deserve regard and respect. When such a concept is pushed to its logical extreme, one gets art pieces, which can be expected to act almost as intuitively as AI. This means that the art pieces do not require explicit handling instructions and indeed in most cases should have a method of responding to and engaging the unwary passerby.

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Art In Transit, Preliminary Research, 54

Preliminary Research

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My earlier proposals of miniatures forgotten, I moved to proposing that artifacts and small groups of clockwork machinery and gear and cog based mechanisms be employed to put on a performance for the accidental passerby. These would be positioned and arranged in groupings that would play upon the individual characteristics of each of the pieces. These identities would be programmed into them or built into their very form such that the action does not matter; It is the very fact of the encounter’s occurrence that will take the centerpiece of this interaction. Moving from that to the slow pulsing and continuously changing sound and visual scape of the world of steam based

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machines and analogue electrical modules. These answered perfectly to my requirements of a temperamental, moody kind of performer who was animate yet in recognizable patterns. It made it immensely more interesting to place in this position something as ephemeral as a sustained stream of electrons in this role, allowing it’s (literal) electric nature to dictate it’s finer peculiarities. A series of bulbs turning on and off in quick succession in identifiable patterns would be considered as a contrived piece, artistic or otherwise. However, a single bulb turning on to different levels of brightness depending on some parametric function of it’s surroundings and real-time stimuli, makes it a system, a responsive cluster, an entry level

attempt, at creating AI. This has been attempted in many experiments at multiple levels with different results. These attempts are all similar, in that humans expect the systems to respond with humanlike logic. I find that I am drawn much more to the depictions humans have made of animals and other anthromorphic characters. The depictions always veered towards a human logic but had the madness of fiction and the fantastical. This pertained to my earlier explorations in animation where amorphous change was my favorite kind of transformation animation.

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Form & Prototype

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One form that appealed to me halfway through the process and which felt like a truly reusable gambit was to employ the iconic square-ish form of the television screen, which could be implemented into various kinds of patterns. These could obey rules that have been setup to give the characteristics and their parameters realism and lend to the effort of making them functional and representative of real life examples. I wanted to use the idea people have of animals. The exotic value given to a character of indigenous properties is great indeed.

Especially to things that have characteristics of identifiable form or theme, based off of more fiction than fact. For this, I started to read up on animals that existed on the fringes of human memory and the annals of history. These included mythic and legendary animals as well as people (ranging from individuals to supposed tribes) with identifiable traits. These could be used to evoke in the audience stirrings of emotion and thought. These things could

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further set them up in moods that I could use as part of my performance. To evoke, tap into or to control the mood spectrum of the people in the area would allow the pieces to not only engage the viewers at a primal level, it would infect them with the

contagious condition of ‘being interested’ which could then be propagated amongst the people, by the people, making it an organic seeming process if not a truly intuitive one.

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CHARACTER CURATION

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-The pied piper/ The will ‘o the Wisp/ Alison’s Rabbit

Leaders

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Characters like the piper or the wisp have a tendency of leading unwary prey with pleasant promises and beguiling shows of sound and light that engage attention then lead it down a path. When a group has units with a demarked hierarchy of power or importance it will naturally elect a leader within its members who will represent them. This character, will in effect lead the efforts that they make to affect the crowd in any manner. This can give rise to micromanagement and feedback loops that allow parts of the system to be left to their own localized loops. This will not in effect remove the audience member or viewer from the equation, it will merely afford them a different kind of interaction where they ‘activate’ instead of ‘influence’ the system. In order to allow it to stay personal, the routines will be punctuated by replays of audience reactions, taking the sound and turning it into part of the equation for the derivation of the visual. This makes it interactive and performative in equal measures. It also makes the viewer aware of the degree of their participation in it.

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-Packs/ Swarms/ Herds

Clusterings

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When a group exceeds a certain size it starts to exhibit certain patterns that can be predicted. These have a way of, even in the midst of a larger, crowd to assert their own way of responding to stimuli. These patterns vary from group to group and are responsive to the needs of the constituent elements. Raafat, Chater and Frith proposed an incorporated way to deal with grouping, portraying two key issues, the mechanisms of thoughts or conduct between people and the examples of associations between them. They recommended that uniting assorted hypothetical methodologies of crowding conduct lights up the relevance of the idea to numerous spaces, ranging from cognitive neuroscience to economics. With this in mind, if a set has a stimulus applied to it, the incoming signal is analyzed along several lines of enquiry. For instance, if the incoming threat is something that has the potential to decimate substantial part of the group, then the immediate response is a “Scatter!� order issued by the leader. In comparison, if the threat is isolated or crippled, an intimidation protocol is initiated say, and they might gather or form up in a different formation to this effect.

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-Sirens/ Apsaras/ Nymphs

Performers

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When units are isolated and given a particular sequence or sequences that they can ‘perform’ in a space with a moving crowd, they will most often develop a pattern to counter or pierce the crowd’s attention in order to ‘propagate their message’. These are based upon an internal clock, a scheduled set of actions or habits. This may liken them in part to alarm clocks, but I’d like to treat them more like metronomes with sirens built in, their timekeeping not only indicative, but also evident and explicitly present. These would also include sleep protocols and wake up timers that would make up the group’s “routine”. The things they do to this effect will define their place in our collective memories and thusly earn them their respective names. While this doesn’t have to be of any benefit or deficit to the character, it is likely that the identity of this thing, in reference to man is derived from this characteristic feature. The methods they employ can be of multiple varieties ranging from brazen advertisement to indistinct whines. However it will embellish the mental picture of that character with a certain flavor. These can be layered for fabulous results, and forms the basis of the engagement.

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RESEARCH

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As far as research was concerned, I started searching up works that exited and articles that spoke of a few key concepts;

Temporality Quantum uncertainty Illusion of motion Illusion of doubles Play Therapy

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Existential Relativity Installations may interfere in a multitude of ways but it is logical to assume that in a space like the given metro, they’d mostly be inclined to see our marks ‘in-passing’. Persueing this, one makes the distinction between pieces that make one walk along, or that one walks along, or those that may even ,walk alongside one. This makes it a matter of pieces that are not merely set at single sections, and instead encompass a space, or a segment of the walk along the metro station. This makes it a Real-time interaction, instead of being centered merely upon one point upon the timelines of the audiences’ memory.

Temporality For Heidegger, to exist is to be historical.

This does not mean that one simply finds oneself at a particular moment in history, conceived as a linear series of events. Rather, it means that selfhood has a peculiar temporal structure that is the origin of that “history” which subsequently comes to be narrated in terms of a series of events. Existential temporality is not a sequence of instants but instead a unified structure in which the “future” (that is, the possibility aimed at in my project) recollects the “past” (that is, what no longer needs to ‘happen’) so as to give meaning to the “present” (that is, the things that take on significance in light of what is to happen). To act, therefore, is, in Heidegger’s terms, to “historize” (geschehen), to constitute something like a narrative unity, with beginning, middle, and end, that does not so much take place in time as provides the condition for linear time.

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TemporalPresence and Engagement In deciding the canvas, or as this matter is proving to be turning it into; the stage that id like to elect as my space of performance is the much spoken of ‘corner of the eye’. To this end, id like to have pieces which factor in large chunks of ‘uncertainty’, from the intent all the way to the very existence of the piece. This would entail spatially and temporally animate pieces. These would need to be able to engage the person at one point of their transit and hopefully Re-engage them, either directly <be reappearing> or merely in their minds <being so quirky it forces one to redouble back/ discuss it later> The idea that one could look at a space and

recognize it is augmented if they’re forced to stand at a spot or to engage with something that slows them down and forces them to interact with it. This could be used to good measure by way of say having a screen or monitor of sorts with a live feed of the expected train timings and alternating it once in a while with an interspaced visual that engages the audience with some sense of humor. A feed of the Electric rail station timings instead of the metro rail system timings, perhaps.

Quantum Uncertainity When looking at a crowd one must remember the fact that there are multitudes of people here each of who has their own relative perspective. This said, there is also likely to be less attention paid to what they consider their

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peripheral vision due to the tunnel vision which one develops when tasked upon an activity which involves a mobile subject and an objective with a clear ‘point A to point B’ criterion. Using this to ones advantage, if one was to pose the average passerby in a crowded space with something which presents itself to him in one glance that he/she looks around the space, but is changed, or gone upon reinspection. Social relations take place not only between human beings but also within institutions that have developed historically and that enshrine relations of power and domination. Thus the struggle for ‘who’ will take the subject position is not carried out on equal terms. I would like to work with the idea of letting people see brief glimpses of the technical ‘bigger picture’. A surveillance camera connected to a monitor

maybe, that has the feed from a different camera; positioned at an angle that tricks the eye. Even data like the expected trains timings could be fed through these screens and alternated at points with something harmless yet relevant like the projected bus timings, or airport timings. Essentially, replacing familiar visuals with similarly fluxing visuals on occasion. They could also switch to broadcast visuals or feeds that are relevant to the space.

Illusion of doubles After having a look around, I chose the ceilings of, and slightly cast in shade, easily overlooked, corners of spaces that I looked at. I looked at how likely it was, that this space would be noticed, and how large the moving crowd is likely to be at that point.

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Spaces in particular I liked the potential of were the area directly above the elevators, or just overhead of the large walk around the mezzanine that overlooks the platform. Another space was the ceiling space that has long, straight furrows running along the length of the walk. I felt that pieces that were going to claim the name of ‘temporal installations’ needed a steady walk, or a walk with one or more events that repeat, like a staircase. Since one can go up or down a staircase and since there are assuredly multiple instances of the same, the similarity could be used to pull some neat hoaxes. Using something like a space that has a chance to be mistaken for another or a kind of pillar that is traditional to the type of architectural space we’re working with say, could give some fun experiments with the people as doubt and mild surprise is meted

out to them in even doses. There are some forms used in the architecture of the metro that could be used to interesting effect. What caught my eyes most were the areas that had near identical forms in the way the passage was built, or the way in which one would expect people to pass through it on the average day. These could be used alongside say, a video feed of a twin location, so to speak. Here, the idea of using a surveillance camera and a mounted monitor next to it arose that gave me a load to think about. When the average passerby is given the ability to try and influence the video by generic gestures like simply looking towards it or collecting in a crowd, people would quickly get surprised when they realize that what they see is not what they expect. If positioned just right, these could be stationed at locations which do not allow them to clear their

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heads and quite understand it before they’re ‘jostled by the crowd’, maybe… or need to move ahead to catch their respective trains. It is here that the idea of using deceptive representation to promising lengths occurred to me as a form of interactive performance.

take part in play behavior with a specific end goal to work through their inside obfuscations and anxieties. As per this specific perspective, play treatment can be utilized as a selfhelp mechanism, as long as subjects are permitted time for “free play or “unstructured play.”

Play Therapy

Play therapy can be divided into two basic types: nondirective and directive. Non-directive play therapy is a non-intrusive method in which children are encouraged to work toward their own solutions to problems through play. It is typically classified as apsychodynamic therapy. Non-directive play therapy, also called client-centered or unstructured play therapy, is guided by the notion that if given the chance to speak and play freely under optimal therapeutic conditions, troubled children and young people will be able to resolve their own

Play therapy can be utilized as a device of conclusion. A play specialist watches a customer playing with toys (play-houses, pets, dolls, and so forth.) to decide the reason for their conduct. The articles and examples of play, and in addition the readiness to connect with the specialist, can be utilized to comprehend the basic method of reasoning for conduct both inside and outside of treatment session. As per the psychodynamic view, individuals (particularlychildren) will

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problems and work toward their own solutions. In other words, non-directive play therapy is regarded as nonintrusive. It was interesting to read about such existing theories that gave generated parameters by which to draw the yardstick on various facets of our lives. It reinforced my belief that the only thing we can depend on people to always exhibit is irregular tendencies and surprising decisions.

Existential Relativity Hubert Dreyfus (1979) added to a powerful feedback of the Artificial Intelligence program drawing basically upon the existentialist thought, discovered particularly in Heidegger and MerleauPonty, that the human world, the universe of importance, must be

seen as a matter of first importance as a component of our epitomized rehearses and can’t be spoken to as a legitimately organized arrangement of representations. Distinctions exist between existential, moral, and epistemological or logical measurements of experience, indicating how the gauges suitable to each interlace, without reducing to any single one. Be that as it may, even here it must be conceded that what makes existence authentic is not the accuracy of the story understanding it embraces. Correctness of fact does not rely on upon some specific substantive perspective of history, some specific hypothesis or exact story. It is a relatively varying subjective parameter in the average person’s day.

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PROTOTYPING PHASE

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Light module and jumper wires

As far as working with television sets went, the pieces were all appropriated by unglamorous means and I went through a long set of pieces breaking down or proceeding to work before fizzling out. This meant there exists a longer set of documented innards than functioning units. This also meant that i got to immerse

Function generator

myself with all the ways the module could fail and the kinds of problems that it naturally devolps with age. This is not to say that i rescinded my usual habit of working with damage or emulating damaged mechanisms in installation form. The basic physics of the entire art piece is based around the ‘oscilloscope hack’ that can be applied

Proposed circut wiring

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As far as working with television sets went, the pieces were all appropriated by unglamorous means and I went through a long set of pieces breaking down or proceeding to work before fizzling out. This meant there exists a longer set of documented innards than functioning units. This also meant that i got to immerse myself with all the ways the module could fail and the kinds of problems that it naturally devolps with age. This is not to say that i rescinded my usual habit of working with damage or emulating damaged mechanisms in installation form. The basic physics of the entire art piece is based around the ‘oscilloscope hack’ that can be applied to old or obsolete CRT television sets. There are a few Instructables and otherwise internet based instructions on how to modify a television set into an audio

visualizer or other simple oscilloscope-like device. The deflection coil or yoke will be the main component of this hack. It is always located at the back protrusion of the cathode tube and looks like a coil of copper wire. There are always four main wires that deliver signal to the coil, two for horizontal and two for vertical. Each direction needs two wires because the magnet requires a bi-polar signal (like and audio signal) to switch the polarity of the electromagnet from positive to negative. This image shows the four deflection coil wires on a removed CRT. They are always found in four separate colors but each TV is different. All four wires will usually also be going to

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the same spot on the TV’s circuit board making them easy to find. They could all be attached to the top, bottom or both the top and bottom of the coil.

from the intended use, and forcing it into an almost primal state of reactivity i hope to achieve an almost organic pattern of display that can play with the audiance’s imagination and lend levity to the site.

As mentioned previously, the wires going to the deflection coil control the horizontal and vertical sweep process of the electron beam (the light that makes the image). It can be useful later on to know which wire pair controls the vertical deflection and which controls the horizontal. To find this I will need to connect one of the pairs back to the circuit board and power on the TV.

Russian scientist Boris Rosing used a CRT in the recieving end of an experimental video signal to form a picture. He manaed to display simple geometric shapes onto the screen, which marked the first time that CRT technology was used for what is known as television. The first commercially made electronic television sets with cathode ray tubes was manufactured by Tel efunken in Germany in 1934.

Through hacking and exploiting the capabilities intrinsic to all CRT devices, the technology becomes repurposed as a performative interface, breaking down the device’s nature. By removing it

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Magnetic deflection coil diagrams

CRT module breakdown Steps to discharging a flyback transformer,

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Casement Removal

First Horizontal deflection

First Vertical deflection

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Some of the first modules that were opened up, various sizes

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Detaching the back module

Detaching the vertical coils

Detached 4 wire module

Spotting the 4 colored wires

Re-routed horizontal wires

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Module plugged into Bass woofer

Speakers’ +ve, -ve -->>3.5 mod

Verticals -->> +ve,-ve

Wired Module plugged into audio source

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SITE MAPS

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FINAL PROPOSAL

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Following this train of thought, I decided that the CRT television set was an interesting form, taken forth by modulations to the magnetic deflection coil in such a way that the horizontal input is concentrated into a beam and the vertical deflection is controlled by a simple positive negative audio input or any electrical input for that matter. These setups would be individually disparate yet will all exhibit certain base features. For one, the sets would all employ the method of zvisualization that is unique to a rewired chathode ray tube circuit. This would establish some kind of common form that would let any actions these sets do in tandem to be viewed as a performance instead of as disparate actions by standalone units. When imparting the units with characteristic features, I plan to take reference

from animals and characters from popular works of trope-based literature. These modules would then be put on timers and be given a protocol based activation system and a parameter based reaction set. These will be easy to recognize by virtue of either their inherent nature or their habitual tendencies of turning on and off. The sets will be rewired to be responsive and reactive to changes in sound in the surrounding area and will be turned on or off by people loitering in a set perimeter that will be considered the ‘activated space’.

An average standby output

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Whence engaging people, these televisions will be modulating sounds akin to an animal interacting, i.e with various responses : from a binaural hum or a purring tone to ragged growls or menacing snarls, this set of responses will also be visualized in the television’s screen, making it not only an audio but also a visual based response. This agitation will be truly representative of the sound due to the makeup of the model allowing the sound to be directly modulated into light and can also give faithful playbacks of sounds made in the area using a microphone module that selectively engages and disengages the area based on it’s own timed agenda. This is meant to make it so that the televisions outputs are unpredictable and to a degree completely randomly generated by multiplying an existing timed sound set by a set of live input feeds.

This will also make it a visual performance, which is to a degree personal to each person who is exposed to it, seeing as each particular reaction is quite literally lost/locked in that sliver of time space and can never be re-emulated exactly.

Varying kinds of Waveforms

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In trying this out, various things were studied and tried out. These went along the lines of binaural and isochoric soundscapes, ghost frequencies and brown notes. These were all common sounds and recognizable and had effects on a large portion of the spectrum of audiences they were exposed to. This is not to say that the effects were all the same, nor did they have a 100% success rate of. This meant that different aspects of it engaged different parts of the target audiances. Looking back to the kinds of traffic we were expecting from the immersion exercises I decided that the only interventions such a fast moving and pointed crowd would appreciate would be things that were evidently tailored to their taste and levels of interest. When two sine waves of slightly different frequencies (eg f1 and f2) are played on a loudspeaker, the waves will undergo interference.

This means that by the time the sound reaches your ears, the waves will have physically added together and this superposition results in a wave at a frequency of (f1+f2)/2 which beats at a frequency of f2f1. If the two tones are played through headphones (one frequency in the left ear, another in the right ear) each ear receives a pure tone and no physical interference can occur. Amazingly, the majority of people will still perceive a beating sound which is a purely psychological effect and is known as a “binaural beat�. Use the Binaural Beat Generator below to investigate this effect yourself, and feel free to add your favourite frequency combinations to the comments section. Headphones must be used for the effect to work (you will hear a beat if you use speakers but this is a

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physical phenomenon as opposed to a psychological one). Binaural beats are widely available, seen in concept and published studies (see e.g. Helané Wahbeh, Carlo Calabrese, and Heather Zwickey. The Journal of Alternative and Complementary Medicine. January/February 2007, 13(1): 25-32) have shown that they can reduce levels of anxiety. However, binaural beats are the auditory equivalent of strobe lights and for certain beat frequencies they may affect the behaviour of brainwaves - a process called “entrainment”. A well known example of entrainment is the practice of gently rocking a baby to sleep, and many people use entrainment for relaxation etc. All these functions exhibit a performative nature and even to a degree hypnotic capability. Sound-scales could be generated to

this end. Working with symphonies of resonant tones and binaural audio would allow for a more obviously continuous piece. This means that even with pieces places in different spots, some of which a person may not chance upon, some of which are almost completely isolated, yet are all part of one cohesive, partially-evident, underlying system. This is a controlled take upon installed media and displayed media that is clearly interaction based and activated by crowd proximity. Over the course of the implementation phase ‘Activation spaces’ will be demarcated which will dictate the ‘area of effect’ over which the sets will have sway. These spots will once again be informed by the predicted crowd movement and spots where the people seem to congregate in, upon mobilization of the metro station.

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The set pieces of archived sound will be informed by the characteristics of the created units and they will have standby modes, activated modes, and ranges of vocalization. These, upon being allowed to engage the audience upon their <the pieces’> leisure will be able to convey a sufficiently balanced mix of procedural generation and performance-based engagement. These will thus tread the border between pseudo-sentient, reactive units and autonomous activation and deactivation models.

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Process Notes:

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REFLECTIVE STATEMENT

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A salient feature of the form is that it can revert to this very iconic single line, and this can be almost indicative of how ‘active’ the piece is. In a standby mode, it can be reflective of its mood and it’s tendencies. If for instance it is a piece with habits of showmanship and ‘crowd bending’, it will be a beacon of attention and will act accordingly in order to make the most of the power it is imbued with. When a visual is more commonly seen and is more easily understood by a larger populace, it will resonate with a larger number of people on a basic level. This is the cognitive fluency bias that can be tapped in order to cater to a wider audience. This isn’t to say that all thought must be abandoned while designing the concept, merely that it need to be responsive to the average viewers needs. This means that the form needs to express a message that is precisely tailored to the moment, and what better way than to have a live form, something that exists is a state that is indicative of their environment and that is engaging enough to pique interest but not ‘intellectualized’ enough to demand intense scrutiny in order to be understood. When taken in the example of the project, the pieces may have a built in siren or alarm protocol that may be employed to turn a crowd towards (or away from) a certain point. Other, subtler reactions will also be employed, like the sets that will be positioned in ‘out-of-the-way’ locations and that do not exhibit a tendency or affinity for attracting crowds. Instead of demanding an audience and beginning the ‘show’ when surrounded, these sets might just go about their ‘daily duties’, a programed set of natural seeming

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actions, humming, buzzing, chirping or so, reacting to outside influence only when it comes within a certain proximity of their space. Their ‘territory’, or resident space, so to speak. This technique grabbing of attention will not be employed heavy-handedly and might at points be manipulated. For one, whilst getting attention is important, it is more important to establish one’s role in the space. This is done before the interaction itself, in fact it is decided in the first few moments of interaction between units. At this point, positions are vague and space is general, but this gets narrowed down as soon as the art piece’s location is noticed. This paints it as a point in space, and its non-stoic nature will mark it as an event in time. Now people can make the choice of orientation and that is what I plan to take as input. I’d like to make a veritable reading of the space, to analyze the spatial relationship between the observers and the view piece. Planning spots for the interventions involved studying other instances of similar structures. I used my recent venturing into metro stations in other states as my live reading and guessed where I’d imagine my ideal viewer would loiter, dally, hasten, and stop. These would lead to the plans being laid for what kinds of groupings would occur, and how they would act. This shall be further investigated and improved upon as I work with the material, namely electronic relics and analog modules with mechanical parts. These have a gritty, old school feel to them because of the straightforward and nearly primitive approach the creators of the elements have taken towards energy and data manipulation.

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FUTURE PROSPECTS

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There are a multitude of things that can be modulated throught the model, making for some of the most amazing interactions I’ve experianced in a while. This said, it was particularly interesting when i got to the point of inputting mathematical finctions and parametrical values into it. This went on to aggrevate to things like frequencies and tones and sirens and beeps, these also included wail, wobbulated soundforms, looped or amplified sounds and even things as simple as prolonged sweep generator tones. All of these were exceptionally fascinating since some of these outputs allowed me to see parts of the sound spectrum that i literally could not hear or detect in any clear and tangible way but by seeing the modulation that the

frequency sends through the central light-beam-line. When this is worked around with a little basic knowledge of sound, fascinating and hauntingly beautiful pieces of visualized sounds are created that can give raise to modules that are inteerstingly reactive and just suffucuantly engaging that people may forget the monotony of their usual agendas and will not mind takeing a moment to relax and enjoy the company/ cacophony of. In order to establish this, they will be programmed with cyclic loops of logic, with thier reactions to different stimulus being made noticably variable. This will also use portions of the live sounds being generated by the audiance in a set area around it which will allow it to recombine and reiterate the words said and sounds made in its

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vicinity into a brand new laguage that is reflective and representative of all the cumulative experiances that the module has ‘lived’ through, giving it a nonorthodox kind of memory and to some degree, a language that is almost uniquely mutated according to it’s circumstances. Color TVs use three different phosphors which emit red, green, and blue light respectively. They’re packed together in strips or clusters called ‘triads’. COlor CRTs have three electron guns one for each primary color, arranged either in a straight line or an equilateral triangle configuration. THis is often called a delta gun, based on it’s relation to the greek symbol. When the magnetic field flux that is created around this gun is agitated or forced into alternative

configureations it gives fascinating visuals that can be controlled and manipulated into interesting patterns and shapes that i plan to generate and exhibit during the final reveal of the art installation.

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BIBLIOGRAPHY

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- 432Hz Frequency Generator http://onlinetonegenerator.com/432Hz.html -Home | www.li-ma.nl http://www.li-ma.nl/site/ -L. C. Jesty, H. Moss and R. Puleston, “War-time developments in cathode-ray tubes for radar,” in Electrical Engineers - Part IIIA: Radiolocation, Journal of the Institution of, vol. 93, no. 1, pp. 149-166, 1946. doi: 10.1049/ji-3a-1.1946.0042 keywords: {cathode-ray tubes;radar equipment}, -Instructables.com http://www.instructables.com/id/Fully-Functional-Television-Oscilloscope/ -Vanderschraaf, Peter and Sillari, Giacomo, “Common Knowledge”, The Stanford Encyclopedia of Philosophy (Spring 2014 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/spr2014/entries/common-knowledge/>. -On Philosophy https://onphilosophy.wordpress.com/2006/07/21/the-philosophy-of-traffic-jams/ -Argumentum Ad Populum http://philosophy.lander.edu/logic/popular.html -LiveScience Jeanna Bryner - http://www.livescience.com/7900-crowd-control-sonic-cannon-works.html --Does 18hz audio (“infrasound”) make people see ghosts? [Archive] Straight Dope Message Board http://boards.straightdope.com/sdmb/archive/index.php/t-582240.html --Listen To This Noise Listentothisnoise - http://listentothisnoise.com/post/59772917907/whatsthe-resonant-frequency-of-your-eyes-what

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-http://altered-states.net/barry/newsletter174/ -Alice in Wonderland Lewis Carroll - Donald Gray - W.W. NORTON & Co. - 1992 -The Illiad .. Homer - William Cowper - John Johnson - John Fuseli - Henry Howard Robert Smirke - Thomas Stothard - Thomas Westall - Pub. by J. Johnston, & Sharpe & Hailes; Print., by S. Hamilton - 1810 -Bonanno, Giacomo and Battigalli, Pierpaolo, 1999, “Recent results on belief, knowledge and the epistemic foundations of game theory”, Research in Economics, 53(2): 149–225. Bonnay, D. and Egré, Paul, 2009, -“Inexact knowledge with introspection”, Journal of Philosophical Logic, 38: 179–227. Brandenburger, Adam, 1992, -“Knowledge and Equilibrium in Games”, Journal of Economic Perspectives, 6: 83–101. Brandenburger, Adam, and Dekel, Eddie, 1987, “Common knowledge with Probability 1”, Journal of Mathematical Economics, 16: 237–245. -–––, 1995, “Backward Induction and Common Knowledge of Rationality”, Games and Economic Behavior 8: 6–19. Bacharach, Michael, 1989, “Mutual Knowledge and Human Reason”, mimeo. Barwise, Jon, 1988, “Three Views of Common Knowledge”, in Proceedings of the Second Conference on Theoretical Aspects of Reasoning About Knowledge, M.Y. Vardi (ed.), San Francisco: Morgan Kaufman, pp. 365–379. –––, 1989, The Situation in Logic, Stanford: Center for the Study of Language and Information. Bernheim, B. Douglas, 1984, “Rationalizable Strategic Behavior”, Econometrica, 52: 1007–1028. Bicchieri, Cristina, 1989, “Self Refuting Theories of Strategic Interaction: A Paradox of Common Knowledge”, Erkenntnis, 30: 69–85. –––, 1993, Rationality and Coordination, Cambridge: Cambridge University Press. –––, 2006, The Grammar of Society, Cambridge: Cambridge University Press.

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Binmore, Ken, 1987, “Modelling Rational Players I”, Economics and Philosophy, 3: 179–241. --Dreyfus, H., 1979. What Computers Can’t Do: The Limits of Artificial Intelligence, New York: Harper Colophon. --Heidegger, M., 1962. Being and Time. Tr. John Macquarrie and Edward Robinson. New York: Harper and Row. Sartre, J.-P., 1968. Search for a Method. Tr. Hazel Barnes. New York: Vintage Books. Schrift, A., 1995. Nietzsche’s French Legacy: A Genealogy of Poststructuralism, New York: Routledge. --Crowell, Steven, “Existentialism”, The Stanford Encyclopedia of Philosophy (Spring 2016 Edition) --http://obsoletetellyemuseum.blogspot.in/2010_12_01_archive.html --White Noise Experiment on CRT Television by Visarut Nutprayoon // TV Glitch White Noise --Fine Art America http://fineartamerica.com/featured/rambha-apsara-kishan-soni.html --Wikipedia https://en.wikipedia.org/wiki/Cathode_ray_tube#/media/File:Braun_cathode_ray_tube.jpg --Google Books http://www.google.com/patents/US734032 --Google Books http://www.google.com/patents/US2830116 --CRT TV Report http://www.slideshare.net/apashishp/crt-tv-report --

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Jacques Callot, The violin player, from the series Gobbi, about 1621

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